The Queen of South Ocean

Nyai Loro Kidul is a legendary Indonesian spirit, known as the Queen of the Southern Sea of Java (Indian Ocean or Samudra Kidul south of Java island) in Javanese and Sundanese mythology. She is also the legendary consort of the Sultans of Mataram and Jogjakarta, beginning with Senopati and continuing to the present day. Nyai Roro Kidul has many different names, which reflect the diverse stories of her origin in a lot of sagas, legends, myths and traditional folklore. Other names include Ratu Laut Selatan ("Queen of the South Sea," meaning the Indian Ocean) and Gusti Kanjeng Ratu Kidul. The royal house of Keraton Surakarta revered her as Kanjeng Ratu Ayu Kencono Sari. Many Javanese believe it is important to use various honorifics when referring to her, such as Nyai, Kanjeng, and Gusti. People who invoke her also call her Eyang (grandmother). In mermaid form she is referred to as Nyai Blorong. The Javanese word loro literally means two - 2 and merged into the name of the myth about the Spirit-Queen born as a beautiful girl/maiden, in Old Javanese rara, written as rårå, (also used as roro). Old-Javanese rara evolved into the New Javanese lara, written as lårå, (means ill, also grief like heartache, heart-break). Dutch orthography changed lara into loro (used here in Nyai Loro Kidul) so the word play moved the beautiful girl to a sick one - Old Javanese Nyi Rara and the New Javanese Nyai Lara.

Nyai Loro Kidul is often illustrated as a mermaid with a tail as well the lower part of the body of a snake. The mythical creature is claimed to take the soul of any who she wished for.Sometimes Nyai Loro Kidul literally can be spoken of as a "naga", a mythical snake. This idea may have been derived from some myths concerning a princess of Pajajaran who suffered from leprosy. The skin disease mentioned in most of the myths about Nyai Loro Kidul might possibly refer to the shedding of a snake's skin.The role of Nyai Loro Kidul as a Javanese Spirit-Queen became a popular motif in traditional Javanese folklore and palace mythologies, as well as being tied in with the beauty of Sundanese and Javanese princesses. Another aspect of her mythology was her ability to change shape several times a day.Nyai Loro Kidul in a significant amount of the folklore that surrounds her-is in control of the violent waves of the Indian Ocean from her dwelling place in the heart of the ocean. Sometimes she is referred as one of the spiritual queens or wives of the Susuhunan of Solo/Surakarta and the Sultan of Jogjakarta. Her literal positioning is considered as corresponding to the Merapi-Kraton-South Sea axis in Solo Sultanate and Yogyakarta Sultanate. Another pervasive part of folklore surrounding her is the colour of green, gadhung m'lathi in Javanese, is referred to her, which is forbidden to wear along the coast of Java.

Panembahan Senopati (1586-1601 AD), founder of the Mataram Sultanate, and his grandson Sultan Agung (1613-1645 AD) who named the Kanjeng Ratu Kidul as their bride, is claimed in the Babad Tanah Jawi.One Sundanese folktale is mentioned about Dewi Kadita, the beautiful princess of the Pajajaran Kingdom, in West Java, who desperately fled to the Southern Sea after being struck by black magic. The black magic was cast by a witch under the order of a jealous rival in the palace, and caused the beautiful princess to suffer disgusting skin disease. She jumped into the violent waves of the Ocean where she finally cured and regain her beauty, and the spirits and demons crowned the girl as the legendary Spirit-Queen of the South Sea. A similar version of the story above mentions that the king (at the time), having her as the only child, who is planning to retire from the throne, remarries. Having a queen (instead of a king) was forbidden. The king's new wife finally gets pregnant, but, because of jealousy, forces the king to choose between her wife or her daughter. There was an ultimatum. If he chose his daughter, then her wife would leave the palace and the throne would be given to what would later become the queen. If the wife was chosen, the daughter would be banned from the palace and the new, yet to be born child, would be king. The king solves this by ordering a witch to make his daughter suffer a skin disease. The daughter, now banned from the palace, hears a voice that tells her to go to the sea at midnight to cure her disease. She did, and vanished, never to be seen again. Another Sundanese folktale shows Banyoe Bening (meaning clear water) becomes Queen of the Djojo Koelon Kingdom and, suffering from leprosy, travels to the South where she is taken up by a huge wave to disappear into the Ocean.Another West Java folktale is about the Ajar Cemara Tunggal (Adjar Tjemara Toenggal) on the mountain of Kombang in the Pajajaran Kingdom. He is a male seer who actually was the beautiful great aunt of Raden Jaka Susuruh. She disquised herself as a psychic and told Raden Jaka Susuruh to go to the east of Java to found a kingdom on the place where a maja-tree just had one fruit; the fruit was bitter, pait in Javanese, and the kingdom got the name of Majapahit. The seer Cemara Tunggal would marry the founder of Majapahit and any descendant in first line, to help them in all kind of matters. Though the seer's spirit would have transmigrated into the "spirit-queen of the south" who shall reign over the spirits, demons and all dark creatures.

 

 

Borobudur Temple, The Power of Budhist

Borobudur Temple is one of the greatest Buddhist monuments in the world. This colossal relic of Borobudur Temple was built by Sailendra dynasty between 750 and 842 AD; 300 years before Cambodia’s Angkor Wat, 400 years before work had begun on the great European cathedrals. Little is known about its early history except that a huge tropical heat to shift and carve the 60,000 Cu m of stone. Sir Thomas Stamford Raffles revealed Borobudur Temple in 1814. He found the temple in ruin condition and ordered that the site be cleared of undergrowth and thoroughly surveyed. The massive restoration project began from 1905 to 1910 led by Dr. Tb. van Erp. With the help of UNESCO, the second restoration to rescue Borobudur was carried out from August 1973 to 1983.The overall height of Borobudur was 42 meters, but it is only 34.5 meters now (after restoration), and has the dimension of 123 x 123 meters. The building has 10 floors or levels: Hhumtcambharabudara, the mountain of the accumulation of virtue in the ten stages of Bodhisatva. Borobudur is located 41 km northwest of Yogyakarta, 7 km south of Magelang, Central Java.

The Prambanan Temple

picture from http://koelitinta.com

Prambanan is one of beautiful temple in Indonesia. It also the biggest temple complex in Java. There are 224 temples in the complex; three of them, the main temples are Brahma Temple in the north, Vishnu Temple in the south, and the biggest among the three which lies between Brahma and Vishnu temples is Shiva Temple (47 meters high). These three ancient masterpieces of Hindu architecture are locally referred to as Prambanan Temple or Lorojonggrang Temple. One of its appeals is the wealth of sculptural detail. The well known one is on the inner wall of the balustrade, the wonderfully vital and utterly engrossing Ramayana epic. Perhaps one of the most majestic temples in the South-East Asia, Prambanan attracts many admirers each year from abroad. Situated about 15 kilometers from Yogyakarta, the top of the main shrine is visible from a great distance and rises high above the scattered ruins of the former temples.

Prambanan is the best seen shortly after dawn or in the late afternoon. However it is still beautiful at any time.Prambanan Sunrise Enjoy sunrise behind the glory of Prambanan Temple. Visitors should be at the location-in the area of The Open Air Theater and archaeological park of the temple-before sun rise at about five o'clock in the morning. Playground A park designed specially for children and the rest of your family to play in and have fun while enjoying the beauty of Prambanan Temple. Archeological Museum The museum where you can learn about the ancient history of Prambanan and all the surrounding temples and Wanabaya's discoveries.

The Boko Queen Temple

The Boko Queen Temple or Candi Ratu Boko is three kilometres south of Prambanan temple complex. The name "Candi Ratu Boko" was given by the locals just based on a legend of Ratu Boko, Rara Jonggrang's father. This site lies on a small plateau about 196 meter above the sea level. The remains cover the areas of two villages, Dawung and Sambirejo, belong to Jogjakarta Special Territory Province. The views from the plateau's ridge are most beautiful during the dawn or in the late afternoon. 

The Boko Queen Temple structure are devided into three clusters. The 1st consits of an impressive gateway and a large stone structure with a central depression-perhaps ancient crematorium. The 2nd set of ruins lies a few hundred metres 500th. These consists of several stone fondations and enclosures, including a set of bathing pools. The 3rd cluster, several hundred metres north of the first enclosure, consists of two artificial meditation caves, a square pool and a staircase. 

Ratu Boko was probably built in about the 8th century by the Buddhist Sailendra's and later took over by Hindu Mataram. Van Boecjholzt discovered it in 1790. In 1989 - 1990, Subroto in his research concluded that there is a lot of similarities between the components of Boko Queen Temple and some early palaces in India. Who was the founder? How long had it been dwelled? We haven't known them until today. In fact, we even haven't known the function. Was it used as a royal park, a palace, a fort or a shrine temple?

Base of Public BuildingIts located outside the fence, about 1.5 meters to the east. Its base which is 38 m long, 7 m wide and 1.5 m high lies north to south. There 4 steps on the west side. 20 pedestals are found on its floor. There are also 4 grooves which were possible used for laying walls partitions. Bathing Palace (water reservoir). This complex lies to the east of Pendopo and consists of 3 groups. The complex are bordered by rectangular fence. the first group consists of 3 square pools, two of them, pool A and B, lie north to south. There is a gate between pool A and pool B. The second group consists of 8 round pools devided into 3 rows. Miniature Temples. These temples are located in the south east of  The Pendopo and are formed of 2 temple-flankers and middle largest one is called the main temple.

Group of Keputren (Princessly Palace) The third group consists of a rectangular pool only, 31 x 8 square m, surrounded by the fence with 2 gates on the south west side and the north east side. A ruined gate is found about 20 meter in the south of the other groups. A ruin of stone structure is also found about 60 meters from that gate with its floor which is still in good condition. Its base has the shape of a square measuring 20 m long and 20 m wide. There are 28 pedestals on the floor.

Group of Caves These two caves are located on the south slope of a rocky hill. Male CaveIt lies about 300 m to the north east of Base of Paseban measuring 3.5 m long, 3 m wide and 1.5 m high. Two recesses are engraved on the inside back wall and a recess on the other respective inside walls. Female CaveIt lies about 20 m to the south east of Base of Paseban and lower than the Male Cave. This cave is smaller. A recess is engraved on the inside back wall.

Wayang Kulit, The Shadow of Puppets

The Wayang Kulit (shadow puppets) whirl in front of the stage. Their movements are smooth and rhythmic according to the crash of gongs and bells. The shadow pupets are carved from the skin of the water buffalo. With a thin knife, they create fine, lace-like details. These are painted in bright colours. Moveable arms are attached before the painting begins. Each puppet's face is different, as his or her character is reflected in the features and expressions. It is the DALANG (puppet master), who brings these puppets to life before the large paper screen.He manipulates the figures in amazingly beautiful and life-like manner. On the screen, the characters can run, laugh,argue and fight.The dalang is diplomatic and charming leader of the performance. He varies his voice to suit the puppet's characters and mood. Conversing in both the local and aristocratic levels of language ,he spins stories of religion and history. The dalang also cues the gamelan orchestra to changes in the tempo by various signals. so, how about yogyakarta?

Grebeg Ceremony

Grebeg is one form of the existing tradition in Javanesse society. In Jogjakarta, known as areas that still upholds the traditions and culture of Java. Grebeg has become an annual agenda of its own in the life of society. The main purpose Grebeg namely as a form of gratitude to God Almighty for what He has been given to us. Grebeg is hold 3 times in a year in Jogjakarta palace. The 1st is Grebeg Maulud, it is the climax of Sekaten. Held yearly on the 12th day of the 3rd month  of the Javanese calendar.The history of Grebeg Sekaten come from Wali Songo especially Sunan Kali jaga. In ancient time culture and art is very important. It is one way to introduce Religion to Indonesian people Sekaten to showed to the people if just one God. The 2nd is Big Grebeg, Held yearly at the Sultan’s Palace on the 10th day of the last month of the Javanese calendar to commenrate Abraham’s test of faith when challenged to sacrifice his one and only son. The 3rd is Grebeg Syawal, Held yearly on the 1st day of the 10th month of the Javanese calendar (Syawal) at the end of Ramadhan, (see schedule) the Muslim holy month of fasting.

Ramayana (part 1)

 The Ramayana is an epic derived from the stories of india. The name of the characters and locations had been changed when the stories were brought to Java. These stories have spread throughtout the archipelago over the centuries. The Ramayana recounts the adventures of Rama. The hero is the dashing Prince Rama , an incarnation of Hindu god Wishnu. He was fated by the gods to kill Rahwana, the evil king. Banished from the palace with his beautiful wife Sita, Rama heads for the forest. Sita is kidnapped by evil king. In his search for Sita , Rama enlist the help of the monkey god Hanoman. The monkey king, with his band of monkeys, goes to war with Rahwana. He wins and rescues Sita. The best place to watch this greatepic is Yogyakarta. There on a most enchantingtage this ballet is performed by the light of the full moon. it is absolutely magical ,the costumes are both bright and flowing. The air crisp, the music is haunting and it captures the beauty and passion of INDONESIA cultures. SO, welcome to Yogyakarta

Photo By: Andri Frediansyah

Jomblang Cave, The Sensation of Jogjakarta

Jomblang is one of hundreds of cave complex in Gunungkidul that becomes well known because of its uniqueness. In 2011, it is used as the object of a program called Amazing Race America. Located on the range of karst hills in the southern coastal spread along Gombong, Central Java up to karst area in Sewu Mountain, Pacitan, West Java, this vertical cave has collapse doline. It was constructed from a geological process when the land and its vegetation vanished into the bowel of the earth thousand years ago. The ruins formed a sinkhole, which in Javanese language was called sumuran or luweng. As a result, the cave which has 50 meter diameter was later named Luweng Jomblang.

To enter Jomblang cave, we need to master single rope technique (SRT). Everyone who wish to do caving in this place should use special equipments based on the caving safety standard in a vertical cave and should also be accompanied by the experienced caving trainers. Together with the cavers from Jomblang Resort, YogYES tried to do caving in this exotic cave. After wearing coverall, boot, helmet, and headlamp, a trainer set SRT set on our body while explaining the name of each tool and its function. The single rope technique equipments consisted of seat harness, chest harness, ascender / croll, auto descender, footloop, jammer, carabiner, long cowstail, and short cowstail.

An adventure to the deep part of the earth was soon started by leaving the basecamp to get to the edge of the cave as the track. There were some tracks in Jomblang cave with various heights, from 40 up to 80 meters. Since this was the very first time for us to do vertical caving, the shortest track, known as the VIP one, was chosen. The first 15 meter from the VIP terrace was a slope that was possibly stepped, and we continued to go down on a 20 meter rope to get to the bottom of the cave. The feeling of scared and nervous when we hung in the air was suddenly disappear when we stepped our feet on the ground.

Surprisingly, the view in front of us was awesome. When we were above, we could only see barren region with hardwood and when we were hanging on the rope to get to the bottom, we could only see karst, but in the bowl of Jomblang cave we could really see the green view of fertile and dense vegetation. Various kinds of moss, fern, bush, and big trees densely grew. A forest with different vegetation from the land above it was usually called ancient forest. Since the geological process of the land happening in the past, those vegetations were continuously growing up to now.

Luweng Grubug, a Visible Heavenly Light

The cave adventure we did was not only stopped at Jomblang. We still continued our journey to Luweng Grubug by entering an entrance, which was an extra large edge of a cave. Jomblang and Grubug were connected by an alley with 300 meters length. Many beautiful ornaments decorated this alley, such as crystal, stalactite, and stalagmite. Walking for a while, we heard thundering sound from the river stream and saw light in the dark. We curiously fastened our steps to see what was going on.

Wonderful scenery, which was really fascinating, spread in front of us. An underground river which still had the same system as Kalisuci flew quickly. The sun light that got in through Laweng Grubug formed a 90 meter light pillar and shone the flowstone in the dark cave. The water drops also made it become a more perfect view. At that time, YogYES really couldn’t say anything, but only feeling of amazed and surprised seeing something called light from heaven directly.

Notes:

• The best time to enjoy the beauty of Grubug cave is at 10a.m to 12a.m when the sun shines above our head, so that we can see the more beautiful heavenly light.
• Anyone who wants to get into Jomblang cave must be equipped with tools which have safety standard for vertical caving and accompanied by well-experienced caver or trainer. For more information about caving in Jomblang cave, you can contact the owner of Jomblang Resort, Cahyo Alkantana (+62 811 117 010).
• The maximum quotas to get into Jomblang cave are 25 people for the reason of ecosystem stability and the cave condition.

Kraton Royal Wedding, 2011

The event of marriage among the youngest daughter of Sri Sultan Hamengkubuwono X, Gusti Kanjeng Queen Bendara or Gray Nurastuti Wijareni with Kanjeng Prince Achmad Ubaidillah Haryo Yudanegara or held in October 18, 2011. President of Indonesia- Susilo Bambang Yudhoyono, 20 ministers and 40 Kings from various corners of the archipelago also attended the event. President and vice president, several guests from  friendly countries also attended the wedding procession of the Sultan’s daughter.

The royal wedding Jogjakarta palace, really be a happy party of thousands or even millions of people of Yogyakarta. Pair GKR Bendara and KPH Yudanegara was brought from the palace towards Kepatihan Ward, humans must divide the sea that has been closed path through which the bride. The procession accompanied the bride and groom who do reception in Ward Kepatihan bergada soldiers led by the palace. Both bride Jong Wiyat train ride in the second row of the procession–the accompaniment of a train. Both were wearing maroon kebaya with dressing Paes Ageng do groats.

Bedhaya Sumreg Dance

Bedhaya Sumreg Dance is one of the “dance inheritance” property of the Jogjakarta Keraton Palace. Classical dance is not merely a composition of gestures that are created into a single entity serving the whole spectacle. But behind the dance classic, stored on a story or a very high philosophical meaning is conveyed as a message for the human life. Bedhaya Sumreg has meaning as an angel who danced to the accompaniment of gending Ageng Ladrang and Ketawang. Bedhaya Sumreg first appeared in the Sri Susuhunan Pakubowono I. After breaking into Kasuhunan Mataram Sultanate of Surakarta and Yogyakarta, Sri Sultan Hamengkubuwono I compile again Bedhaya Sumreg along with the establishment of Sultanate of Yogyakarta. When Sri Sultan Hamengkubuwono I run on the beach Parangkusuma Labuh ceremony, he was greeted with Bedhaya Sumreg who danced by the dancers from the South Coast.This Dance show about the attitude and the way taken by the leader in addressing shared problems of his era. Bedhaya messages conveyed by this is that human life on earth back to mutual respect and respect for all forms of differences with relationships based on kinship, cultural, and religious.

In Bahasa Indonesia:

Berbagai tarian kerajaan di Jawa memiliki nilai historis yang terletak pada posisi tangan, yang mendapat pengaruh dari tari India. Pengaruh meluas sampai di Bali yang ditambah dengan gerak mata. Tarian yang terkenal ciptaaan para raja, khususnya di Jawa merupakan bentuk teater tari seperti wayang wong dan bedhaya ketawang. Dua tarian ini merupakan pusaka raja Jawa. Bedhaya ketawang adalah tarian yang diciptakan oleh Raja Mataram Ketiga, Sultan Agung Hanyokrokusuma (1613-1646) dengan berlatar belakang mitos percintaan antara Raja Mataram Pertama, Panembahan Senopati dengan Kanjeng Ratu Kidul atau penguasa laut selatan yang ditampilkan oleh sembilan penari wanita. Bedhaya Sumreg merupakan salah satu tarian pusaka yang semula muncul pada masa pemerintahan Sri Susuhanan Paku Buwono I. Bedhaya Sumreg memiliki arti sebagai bidadari yang menari dengan iringan gending ageng, ladrang, dan ketawang. Tarian ini pernah dipentaskan dalam perayaan ke 250 tahun keraton dan 250 tahun kota Jogjakarta

Bedhaya Sumreg menjadi tarian yang sangat sakral dan juga sebagai tarian persembahan bagi para tamu yang datang ke kerajaan pada masa pemerintahan Sultan HB I-IV. Dan juga dipentaskan saat upacara naik tahta dan upacara pentahbisn raja hingga masa pemerintahan HB IV. Setelah Mataram pecah menjadi Kasuhunan dan Kasultanan Yogyakarta akibat dari Perjanjian Giyanti, tarian ini dibuat seiring dengan Sri Sultan HB I mendirikan Kasultanan Yogyakarta. Dikisahkan bahwa saat Sultan HB I melabuh di Pantai Parangkusumo, dia disambut oleh para penari dari pantai selatan. Dari situlah muncul gagasan untuk mengembangkan tarian di kerajaan.

Pada masa pemerintahan Sri Sultan HB II bedhaya pusaka ini mulai dibangun kembali dan diteruskan oleh Sri Sultan HB III yang akhirnya dipentaskan dalam peristiwa jumenengan dalem Sri Sultan HB IV. Melalui berbagai tulisan tangan yang diperoleh dari pencatatan gerek tari hingga pemerintahan HB IV. Hingga kini bedhaya yang berati lampah, bedayan yang berasal dari kerjaan Mataram itu akhirnya diwarisi oleh Kasultanan Yogyakarta.

Sesuai dengan namanya Bedhaya Sumreg ini membawakan cerita yang penuh dengan gejolak dan intrik seiring dengan masa-masa pemerintahanya. Asal-usul kolonialisme perang Jawa yang sebenarnya dan secara khusus mengenai sikap dan cara yang ditempuh oleh para pemimpin dan negerinya di masa itu untuk menghadai masalah zamanya. Inspirasi perang Jawa itu berpengaruh hingga kini dalam berbagai bentuk kolonialisme yang lebih canggih seperti ekonomi, politik, dan budaya. Terlebih sering mendapatkan legitimasi international yang tak ubahnya seperti perang suksesi dinasti Mataram untuk merebut tahta dan kursi.

The Ancient Kingdom of Ganesha

The intricately carved statues and reliefs are some of the best preserved in Indonesia, but the dig is being conducted under tight security to protect the site from well-organized relic thieves. The temple was found on the grounds of Yogyakarta's Islamic University as workers probed the ground to lay foundations for a new library, and they realized the earth beneath their feet was not stable. Digging soon revealed an extraordinary find: three meters underground were still-standing temple walls. Heavy rains then exposed the top of a statue of the god Ganesha in pristine condition. A few weeks into the excavation, archaeologists are declaring the temple and its rare and beautiful statues an important discovery that could provide insights into Indonesia's pre-Islamic culture. A volcanic eruption is thought most likely to have covered the temple around the 10th century.  

The eruption preserved its statues and reliefs in better condition than almost everything else discovered in Indonesia from that period, including the Borobodur and Prambanan temple complexes. But now that they are exposed, the temple's contents need to be protected with 24-hour security. Last November, thieves plundered the nearby Plaosan Temple. The heads of two rare Buddhist statues were stolen, to be traded by organized syndicates dealing in artifacts

Kimpulan Temple, Found in 2009

Kimpulan temple is a 9th century located in the area of Indonesia Islamic University, Jogjakarta, Indonesia. The temple was buried about five metres underground. Parts of the temple have been excavated to reveal square andesite stone walls and statues of Ganesha, Lingam Yoni, and Nandi. The temple was accidentally discovered on 11 December 2009 during land excavations to lay foundations for the construction of a new university library. The discovery drew public attention and sparked excitement and curiosity. The news instantly drew many visitors to the site. Archaeology office feared that large numbers of curious visitors would harm the excavation site, and feared the looting might take place. As the result, the area was surrounded with tin fences and closed; it is presently off-limits for visitors.

Kimpulan temple is thought to have been buried by an ancient volcanic eruption from nearby Mount of Merapi about a millennia ago. The discovery of this temple was the most exciting archaeological findings in Yogyakarta recently, leading to speculation about whether other ancient temples still lie underground in the vicinity, buried under Mount Merapi volcanic ash. The temple is clearly a Hindu Shivaistic temple. However the temple architecture is quite unusual for a temple dated from this period. Unlike common Central Java Hindu temples, the stone main structure and towering roof are absent. The temple is modestly small in size and has simple decorations. It only consists of several squares of walled stone base and staircases with the carving of Kala. The inner chambers contain statues of Ganesha, Nandi, and Lingam-Yoni.

So far, experts suggest that the history and architecture of this temple is a modest one. The body, column, and roof of the temple probably were made from wooden or any organic materials that have decayed over time and left no traces. The temple was probably similar to present day Balinesse temple with tall Meru-style roof. Unlike the magnificent and richly decorated Prambanan that served as the royal national temple of the Mataram Kingdom, Kimpul was a modest village shrine built by common people of a village on the outskirt of the capital.