"DENDANG BANUA" panting music group

NGAYOGJAZZ

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Fri, 28 Oct 2011 09:00:19 PDT

Pernah kothekan ? Ya, kothekan, tetabuhan atau berekspresi dengan bebunyian, berdialog sahut-sahutan dengan suara indah yang berirama dan harmoni. Begitulah ngejazz. Simpel dan bebas, tapi penuh estetika dan interaksi. Siap ngejazz, dab ?

Inilah Jazz. Sebuah cara memainkan musik dengan asyik, spontan, interaktif, dan ekspresif. Hampir tanpa batas. Siapapun; alat musik apapun; dimanapun; kapanpun, bahkan dalam suasana apapun, karena jazz lahir juga dari sebuah keadaan sosial yang direspon dengan permainan-permainan musik.

Nandur wohing pakarti. Menanam buah perbuatan (baik). Begitulah harapan atas semua yang kita lakukan di Ngayogjazz. Tetandur; bercocoktanam. Alangkah menyenangkan bila Ngayogjazz bisa menjadi lahan subur untuk bercocok tanam, tempat yang baik untuk persemaian, menempa diri dan berbagi. Berbagi untuk sesama saat ini maupun membuahkan kebaikan bagi generasi seterusnya. Sumangga …

Hari : Sabtu Wage
Tanggal : 12 November 2011
Waktu : 14.00 – 00.00 WIB.
Tempat : Kotagede, Yogyakarta, Indonesia
-7.82788,110.399964

Artist Ngayogjazz 2011

Rieka Roslan

Idang Rasjidi

Trie Utami

Sierra

Ligro Trio (Adi Dharmawan, Agam Hamzah, Gusti Hendy)

Nano Tirto

Tesla Manaf feat. Mahagotra Ganesha (Bandung)

Gondo & Friends (Surabaya)

Balikpapan Jazz Lovers (Kalimantan Timur)

Streamline Quartet feat. Dyah (Solo Jazz Society)

Gubuk Jazz Project (Komunitas Gubug Jazz Pekanbaru)

Blue Batik Replica (Pekalongan Jazz Community)

Buzztard (Jazz NgisorRingin Semarang)

Rencang (Jazz NgisorRingin Semarang)

Aljabar (Jazz NgisorRingin Semarang)

Muci Choir (Komunitas Jazz Jogja)

Orisinden (Komunitas Jazz Jogja)

Everyday Band (Komunitas Jazz Jogja)

Chick Yen (Komunitas Jazz Jogja)

Blank On (Komunitas Jazz Jogja)

MmTD (Komunitas Jazz Jogja)

Bear Project feat. Bawien & Dendang Banua (Komunitas Jazz Jogja)

daSoul feat. Rapai Project (Komunitas Jazz Joga)

KAMPAYO (Keluarga Musisi Penyanyi Artis Panggung Yogyakarta)

Kutha Gedhe Jazz Society (Kotagede)

Keroncong Kharisma (Kotadege)

Yon’s Jazz (Komunitas Jazz Kotagede)

Kertas Lipat (Komunitas Jazz Kotagede)

Ledek Gogik

Calung

Solawatan Mataram

Drum band & Barisan XHW

Halal Bi Halal 2011

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Fri, 28 Oct 2011 09:13:18 PDT

MUSIK PANTING CURI PERHATIAN

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Fri, 28 Oct 2011 09:15:38 PDT

Jazz mBen Senen BBY: dari Swing sampai Panting

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Thu, 01 Apr 2010 11:54:25 PDT

Seperti yang telah dilakukan beberapa minggu terakhir ini, forum Jazz mBen Senendiawali dengan membahas sebuah tema seputar musik jazz. Kali ini adalah tentang “Swing” yang dibawakan oleh Djaduk Ferianto, pemrakarsa sekaligus “pendamping” acara yang dipadegani oleh Komunitas Jazz Jogjakarta ini.

Setelah sesi diskusi usai, masuklah pada sesi performance. Dan tampillah di atas panggung kelompok musik “Komunitas Banjar”. Kelompok yang terdiri dari Debbie (vokal), Indra, Firly, dan Rahmat ini membawakan musik khas Banjarmasin, Kalimantan Selatan yang disebut musik panting yang sangat kental dengan cengkok Melayu. Pada malam itu, mereka membawakan empat komposisi, yang masing-masing berjudul “Halin” yang berkisah tentang jeritan seseorang yang patah hati, “Batambang Liring” berisi jampi-jampi untuk menarik hati seseorang, “Hamas Pirak” yang berkisah tentang seseorang yang sedang jatuh cinta, dan “Ampar-ampar Pisang”. Berpadu dengan musik yang khas, suara Debbi yang jernih, bening, dengan jangkauan nada yang tinggi itu berhasil memberi warna yang indah pada malam yang cerah itu. Begitu memesona permainan musik mereka, terutama cara bernyanyi Debbie, sampai-sampai, di atas panggung Djaduk berkomentar, “Inilah musik jazz yang sesungguhnya; mengangkat kekayaan musik lokal dengan cita rasa yang sangat jazz. Jadi bermusik jazz itu tidak hanya berarti membawakan lagu-lagu top western.”

Selain itu, panggung malam juga dimeriahkan oleh Rici yang membawakan lagu “Cucak Rowo” dan “Menunggu” dalam musik jazz-ndut; yang oleh penonton kemudian dipelesetkan menjadi “Jazz-ndut Ferianto”. Selanjutnya tampil pula Silir yang sukses nge-jam dan berimprovisasi bersama Djaduk yang memegang perkusi disertai teman-teman dari Komunitas Jazz Jogjakarta. Tak ketinggalan, tampil pula Bayu pelukis, Mbah Ledjar, maestro wayang kancil yang nembang, dan juga Aci yang dengan apik membawakan lagu “Fly to the Moon” yang dipopulerkan oleh Nat King Cole.

Jazz mBen Senen malam itu kiranya boleh dikatakan sukses, tak hanya karena kemeriahannya tapi juga keberanian teman-teman musisi untuk berimprovisasi dan menggali kemungkinan kolaborasi dengan berbagai aliran musik. Di atas panggung sangat terasa, bagaimana para musisi yang berasal dari berbagai macam aliran itu mencoba untuk berdialog dan menemukan chemistry untuk berkolaborasi. Memang tidak selalu berjalan smooth, tetapi toh semangat keterbukaan mereka berhasil mengatasinya sehingga dari sana hadirlah komposisi-komposisi musik yang harmonis.

Hingga tengah malam menjelang, masih banyak para penonton yang setia menikmati pertunjukan ini, baik yang duduk lesehan di atas tikar, di kursi, di tembok pagar Bentara Budaya Yogyakarta, maupun yang duduk di atas sepeda motornya sendiri di pinggir jalan. Memang, sejak kehadirannya yang perdana pada bulan Desember 2009, tampak bahwa forum Jazz mBen Senen ini makin lama, makin diminati; bukan hanya penonton yang semakin membludak tetapi juga para musisi yang bergabung untuk nge-jam

Di Tanah Jawa Panting Berdenting

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Thu, 01 Apr 2010 11:45:53 PDT

Ampar-ampar pisang

Pisang ku balum masak

Masak sabigi dihurung bari-bari

Sekelompok orang berjejer rapi dihadapan hadirin. Mereka adalah paduan suara dari suku Hakka Cina, tapi ketika bernyanyi bukannya lagu berbahasa Cina dilantunkan melainkan membawakan lagu Banjar Ampar-ampar pisang dengan penuh riang dan diiringi musik organ tunggal. Sementara di sebelah kanan kelompok paduan suara itu duduk berjejer sebuah grup musik panting yang siap beraksi. Setelah paduan suara menyanyikan lagu Ampar-ampar pisang hingga selesai, langsung dilanjutkan musik tradisional grup musik panting yang juga membawakan lagu Ampar-ampar Pisang diiringi para penari latar.

Belum tuntas lagu dinyanyikan, paduan suara pun menyambung lagu itu diiringi musik panting dalam tempo lambat. Setelah selesai paduan suara bernyanyi, instrumen musik panting terus berlanjut dengan tempo lebih cepat tanpa iringan lagu. Begitu selesai musik panting, kembali paduan suara menyanyikan nang mana batis kutung dikitip bidawang.

Pagelaran itu adalah momen yang sulit terlupakan oleh Firliadi Noor Salim, salah seorang pemain musik panting grup Dendang Banua dari Kerukunan Mahasiswa Hulu Sungai Selatan di Yogyakarta. Waktu itu, 25 Mei 2009 mereka berkolaborasi dengan paduan suara suku Hakka untuk memeriahkan pembukan acara perkumpulan suku Hakka se Yogyakarta di gedung pertemuan Grand Pasifik.

Sebagai pemain musik panting, Salim panggilan sehari-hari Firliadi Noor Salim yang tengah menuntut ilmu di Sastra Arab, UIN Sunan Kalijaga, merasa sangat bangga karena grup musik mereka mendapat kehormatan dalam acara orang Cina Hakka. Grup musik panting Dendang Banua adalah satu-satunya grup musik tradisional yang didaulat untuk memeriahkan acara pembukaan pertemuan suku Hakka di Yogyakarta.

Penampilan Dendang Banua di acara pertemuan suku Hakka, menurut Wira salah seorang personel Dendang Banua, pada mulanya hanya sekedar coba-coba dari panitia pelaksana. Kebiasaan mereka mengundang salah satu grup musik tradisional untuk mengisi acara hiburan, tahun 2009 Dendang Banua mendapat giliran.

Rupanya penampilan grup musik panting Dendang Banua mendapat penilaian positif dari para undangan yang hadir, tepuk tangan membahana di dalam gedung Grand Pasifik Yogyakarta. Setelah tampil perdana secara mengesankan itu, mereka pun mendapat undangan kembali untuk mengisi acara pembukaan kejuaraan Nasional Wushu Yunior Taulo Open 2009 di GOR Universitas Negeri Yogyakarta. “Di sana kami kembali tampil dan berkolaborasi dengan penari Cina,” ujar Salim.

Mantan ketua KM HSS ini pun sangat berbangga hati, karena hadir Sultan Yogya dalam acara pembukaan kejurnas Wushu tersebut. Kebetulan ada kontingen Wushu dari Kalimantan Selatan, salah seorang panitia kontingen tersebut langsung menemui mereka setelah tampil dan menanyakan apakah Dendang Banua sebagai utusan DKD Kalsel sehingga tampil dalam acara pembukaan kejurnas Wushu. Mereka pun menjelaskan bahwa tampil sendiri karena undangan panitia.

Grup musik panting Dendang Banua yang beralamat di asrama mahasiswa Kabupaten HSS “Amuk Hantarukung” di jalan Mangga 3 Blok D No 37 RT. 2 RW. 8 Klebengan, Kecamatan Depok Kabupaten Sleman, lahir bertepatan dengan hari jadi kabupaten HSS tanggal 2 Desember 2001. Pada waktu itu asrama mahasiswa HSS dan sekretariat Dendang Banua beralamat di Jalan Mawar dan masih berstatus kontrakan.

Cerita Salim yang juga mantan ketua asrama “Amuk Hantarukung” 2007 yang ditemu URBANA di Yogyakarta, Kamis (27/08) bahwa seniornya mendapat bantuan pemda HSS untuk mendirikan grup musik panting Dendang Banua. Sayangnya bantuan tersebut tidak mencukupi untuk membeli alat musik, sehingga untuk menutupi biaya mahasiswa mencari uang dengan cara mengamen dengan menggunakan alat musik biola di sekitar kampus UGM hingga akhirnya dapat menutupi kekurangan biaya.

Selain berhasil mendapatkan uang untuk mencukupi kekurangan biaya membeli peralatan, rupanya kemampuan mahasiswa memainkan biola juga digemari kelompok pengamen lain yang beroperasi di sekitar UGM sehingga banyak pengamen berminat belajar bermain biola.

Generasi pertama pemain Dendang Banua adalah Lupi Anderiani, Alfriend, Obeb, Riswan, Faturrahman, “Jeng” Sri, Riza, Anoy, Inai, Ilmi dan Alfi. Secara perlahan-lahan para pemain tidak lagi aktif di Dendang Banua karena telah menyelesaikan studi. Sepeninggal Lupi Anderiani, Dendang Banua kekurangan pemain biola. Kini personel Dendang Banua diisi oleh Firliadi Nur Salim, Indra Bandi, Atma Prawira dan Mus’ab yang memainkan alat musik panting. Memainkan alat musik kataprak oleh Abdurrahman al-Gunain, Aditya Aris Pratama, Muzaiyyin Mistar, Muhammad Arif. Adapun memegang alat musik Babun oleh Udin Khair dan gong oleh Hafiz. Vocal oleh Debby Miranti dan Hasani Memed.

Latihan rutin dilaksanakan setiap dua kali seminggu di asrama mahasiswa HSS, “Amuk Hantarukung” Yogyakarta pada hari Jumat dan Minggu. Pada saat latihan, mereka pernah ditonton oleh turis Rusia. Setelah menyaksikan tampilan musik panting Dendang Banua, turis Rusia yang semula tidak ingin pergi ke Kalimantan menjadi tertarik untuk melihat secara langsung kesenian di Kalimantan Selatan.

Dendang Banua yang dimanajeri oleh Amat Sufian setelah eksis beberapa tahun akhirnya mendapat bantuan dari pemprov Kalsel awal tahun 2009 untuk memperbaiki alat. Namun, bantuan tersebut masih belum mencukupi terutama untuk mengganti kostum pemain karena selama sembilan tahun eksis masih menggunakan pakaian yang sama. Padahal untuk saat ini menurut Atma Prawira mahasiswa Banjarbaru yang orang tuanya berasal dari Kandangan, Dendang Banua adalah satu-satu grup kesenian dari Kalimantan Selatan yang masih eksis di Yogyakarta bahkan se Jawa dan Bali.

Untuk lebih mempromosikan Dendang Banua, dibuka alamat di dunia maya yang berisi tentang dokumentasi kegiatan berupa gambar dan video di face book yang beralamat Grup Musik Panting “DENDANG BANUA” KM HSS Yogyakarta. Hingga saat ini Dendang Banua memiliki 1.780 penggemar di dunia maya.

***

Kota Yogyakarta selain dikenal dengan julukan kota Pelajar juga sebagai kota seni dan budaya yang memungkinkan segenap unsur kesenian tumbuh dan berkembang. Dendang Banua menjadi satu-satunya grup musik tradisional yang membawa nama Kalsel di Nusantara melalui kota Yogyakarta.

Selama tahun 2009, Dendang Banua sudah tampil selama beberapa kali, salah satunya dalam acara tahunan Gelar Apresiasi Seni Antar Etnis 2009, di halaman Monumen Serangan Umum Satu Maret pada 29 Juli 2009.

Selain tampil dalam acara yang bersifat nasional, Dendang Banua juga kerap diundang dalam acara mahasiswa daerah. Salim bercerita bahwa Dendang Banua pernah diundang bersama grup musik dari Aceh dalam acara peresmian asrama Todilaling, Sulawesi Barat tahun 2008. Ini menunjukkan musik daerah Kalimantan Selatan sebenarnya mendapat tempat di kalangan penggemar musik tradisional dari daerah lain.

Setiap tahun sejumlah agenda pertunjukkan musik tradisional sudah menunggu grup musik panting Dendang Banua. Misalnya di lokasi yang sering tampil yakni halaman monumen Serangan Umum Satu Maret, Dendang Banua sering diundang untuk mengisi acara ulang tahun kota Yogyakarta, Festival Kesenian Yogyakarta , Hari Sumpah Pemuda, Gelar Apresiasi Seni Antar Etnis. Di Jogja Expo Centre (JEC), Dendang Banua juga tampil untuk memeriahkan Yogya Fair dan Ramadhan Fair. Adapun acara bersifat kedaerahan biasanya setiap Syawal yakni Halal bi halal warga Banjar di Yogya.

Untuk agenda ke depan Dendang Banua bersiap-siap untuk memeriahkan empat acara, yakni: Ramadhan Fair, 2 September 2009 di JEC, kemudian tampil dalam pembukaan acara pertemuan Suku Hakka se-Indonesia pada bulan November di Yogyakarta. Adapun acara bersifat kedaerahan memeriahkan ulang tahun Persatuan Mahasiswa Kalimantan Selatan (PMKS) bulan November dan halal bi halal warga Kalsel di Yogyakarta, sekaligus peresmian renovasi asrama Lambung Mangkurat.

***

Setiap tampil di hadapan publik bagi Salim dan Wira serta teman-temannya yang lain, selalu tersimpan rasa bangga karena membawa nama daerah di kota Yogyakarta pusat kebudayaan Jawa. Apresiasi para penonton yang hadir dapat mereka rasakan dari applause penonton setelah tampil, apalagi disaksikan oleh para penonton dari berbagai daerah serta turis dari mancanegara.

Atas jerih payah penampilan mereka, pihak panitia yang mengundang memberikan imbalan yang beragam. Dari ratusan ribu dan kalau lagi mujur pernah mendapat bayaran hampir Rp 2 juta selama 15 menit pertunjukkan. “Tapi imbalan terima kasih haja gin, kami tarima haja,” terang Salim. Dalam acara tertentu, mereka pun lebih mementingkan tampil daripada memikirkan imbalan apalagi kalau nilai promosinya besar melalui event nasional.

Meskipun keberadaan Dendang Banua sebagai satu-satunya grup musik tradisional dari Kalimantan Selatan di Yogyakarta hingga se-Jawa Bali yang terus eksis dengan semangat para mahasiswa daerah untuk membawa nama baik Kalsel secara nasional dan internasional. Namun, para personel Dendang Banua mengakui khawatir akan kelangsungan grup ini di masa mendatang. Menurut Salim, mantan ketua Asrama “Amuk Hantarukung” yang berasal dari Sungai Paring, Kandangan, saat ini sulit melakukan regenerasi pemain musik terutama yang menguasai alat musik babun. Tidak ada peremajaan alat dan kostum karena itu mereka berharap kepedulian pemerintah daerah. Selain itu, tidak ada pembina musik panting sepeninggal senior mereka, Lupi. Sehingga para pemain belajar secara autodidak, praktis berdampak pada terbatasnya referensi penguasaan lagu-lagu daerah.

Bahkan lebih tragis jika hal-hal tersebut tidak dapat diatasi, maka beberapa tahun kemudian suara musik panting dari Kalimantan Selatan di tanah Jawa perlahan-lahan akan berhenti berdenting.

Solo Panting

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Sun, 08 Mar 2009 04:00:01 PDT

Lagu Ampar-ampar Pisang

Solo Panting

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Sat, 07 Mar 2009 23:38:00 PST

Lagu Kada Nyaman Balalawasan

Social and Cultural South Kalimantan Province

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Tue, 24 Feb 2009 18:54:52 PST

A native of South Kalimantan are generally Banjar tribe that essentially consists of sub-tribes, namely Maayan, Lawangan and Bukiat mixing with the tribe Malay, Javanese and Bugis. The identity of the main Banjar language is seen as a general media. Migrants from Java, such as population, Malay, Madurese, Bugis and long to come to South Kalimantan. Malay tribes come since the era of Sriwijaya, or as traders who settled, tribe Java Majapahit period came in even earlier, and the Bugis kingdom Pegatan come up in the past. Tribes Maayan, Lawangan, Hill, and Ngaju influenced by the Malay and Javanese culture, dipersatukan by a religious Buddhist kingdom, the last Hindu and Islamic, from the kingdom of Banjar, so that the tribes who speak Banjar Banjar. Kingdom series on the 16-th century and 17 have a relationship with the sultanate of Demak and Mataram. Very day the kingdom does not escape incaran foreign nations like the Netherlands and the UK silih switch to the port of Banjar. When the resistance against the Netherlands on the 29 th century, showing leaders such as Sultan and Prince Hidayat Antasari the Netherlands. Indigenous peoples of South Kalimantan, especially the various tribes Banjar traditional ceremonies associated with human life. Since still in the womb until death. For example, the customary berpantang for pregnant women, midwives Bapalas ceremony, which is when the baby was born 40 days and provide the name, the ceremony perkawianan consists of several stages, namely sejaka Babasasuluh find information about prospective spouse, ie Badatang apply, namely Patalian Bantar cession of events or dowry, ceremonial Koran and the peak is the Batatai or biting. Last Pemakanan The ceremony is the bridegroom a second honeymoon, for 7 days 7 nights only eat and drink behind the curtain closed. Banjar growing community in the art of literature and art of beautiful sound, the original association of day-to-day in anatara they sindir satirical sometimes with poetic language and verse-verse, and sometimes the humor of the young-mudinya. This satirical Sindir long run develop into the beautiful art and literature up to now-proverbial saying, for example. In the art, the tribe Banjar-embroidery sampler is beautiful as usual complement of equipment ritual sculpture, wood carvings are on the house or building in a mosque, also in the handicraft goods from places such as betel Kuningan, spitting, trophy, kapit, abun, and so forth. Plaited from pandanus and rattan in general do by a woman to fill the leisure time to develop also in other regions. For art building, especially building the home, the community tribe Banjar already has the architecture of high value. Houses a traditional house with a pitched roof is high. Dar side when viewed as piramide. Ruamh-house is different with each other therefore, can know the social status of the owner. First house is divided in several classes above, such as noble, scholars, merchants have the home pitch which is called high elephant baliku, palimasan palimbangan, gajak manyusu, men's house of parliament, parliament house and the wife. While for most houses is upright bird house, house reservoir bed, home or warehouse wickiup usual. House for ordinary people generally quadrangular or rectangular cross-aft.

Overview of The Traditional Theater Kalsel "Mamanda"

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Sun, 22 Feb 2009 16:31:53 PST

One of the traditional theater Kalsel that can still survive his life is "Mamanda". Why? For stories from Mamanda is no less diverting story with sinetron or film. Bagamat also figures in Mamanda "standard" but can be added other figures with the other stories, stories mamanda meaning can be created in accordance with the development of the era. What showtimes mamanda longer duration of the whole night now adjusted to the demand, could mean duration 3 hours or 5 hours. Special Mamanda it, can be played with a script as a whole or only terater modern story with a set like the story outline, and Babakan plot, while the dialogue is known by the term improfisasi. Players - the players Mamanda known berimprofisasi expertise. Figures mamanda a standard that is the King, Mangkubumi, vizier, the Prime Minister, The War, First hope, hope the second wage earner, empress, the Son of the King (or daughter can Pangeran). Figures according to other stories such as King of the other Affairs, Youth, reaver, Jin, the Netherlands, or from other regions (Java, China, Batak, Madurese or other). As well as in the modern theater, showtimes starting before sinopsisnya will be, in mamanda exposed through "Baladon". Baladon story is said to be melodious and dance movement. Mamanda can berkolaburasi story with art or dance music. That is the kingdom after the meeting finished it will be displayed showtimes dance with the purpose of entertaining the king or the kingdom of the whole apparatus of the war when the kingdom held showtimes entertainment or dance music skelter.

Mamanda origin is noble entourage when Badamuluk Malacca (Abdoel Moeloek noble or Indra, 1897 M) which is headed by Encik Ibrahim and his wife Cik Eve, lived in the Land of Banjar couple of months the showtimes. Theater is popular so quickly in the middle of the Banjar. After adapting, theater is a new birth to a theater called "Mamanda". Mamanda have any understanding of "greeting" to the respected people in the kinship system or kekjluargaan.

Mamanda has two streams. First: Flow Batang Banyu. Who live in the coastal river area in the Hulu Sungai Margasari. Often called Mamanda pot. Second: Flow Tubau years beginning in 1937 M. Flow of life in this area Tubau Rantau. Dipentaskan often land in the area. This flow is also called Mamanda Batubau. This flow is developed in the Banjar.

Showtimes Mamanda have any cultural value is next to the showtimes Mamanda as media entertainment is also functioning as a medium of education for the public Banjar. Stories presented both on the history of life, a good example tauladan, social criticism or satire of a building, democratic, and cultural values Banjar community.

Began, Mamanda have music surrounding the orchestra wither with rhythmic songs wither, now switch to the accompaniment with the song Two skelter expectancy, Two King song, Tarima Love Songs, Baladon Songs, Mambujuk music, song Tirik, Japin song, Gandut song, Mandung-Mandng song, song and nation.

JAPIN KUALA

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Sat, 21 Feb 2009 15:00:01 PST

Along the entrance to the Land of Islam in the Banjar XV century the Islamic kingdom of Banjar entry, developing the arts such as dance Japin Islam. Japin dance tune by this so people, especially the coastal Banjar River Martapura. Slowly spread to the Banjar Hulu is Hulu River area. Japin experience into the development of several kinds, such as Japin Kuala Japin, Japin Sisit, Japin Eight Children, Japin Rantawan and so forth. Although Japin variety - but the kinds of characteristics Japin movement is not lost as a basic step 4, tahtul, sisit and others - others. Why is this called Dance Dance Japin Kuala? For Dancing Japin come or grow and develop in the coastal areas or river Martapura often called the estuary. Kuala Japin dance dance is a young crowd - mudi in the Banjar, which depict a sense eratnya strap silaturrahmi and brotherhood. Dance is highly favored by young-mudi Land Banjar because in addition to the excitement in an event, not infrequently also Dance Japin media is to find a mate. Although this dance is a dance crowd, but still holds the norm - the norm of Islam.

LAMUT

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Fri, 20 Feb 2009 15:00:01 PST

Lamut is one of the traditional arts of South Kalimantan. Lamut art that is almost extinct is almost the same with some type of art in other areas, such as the arts Cianjuran in West Java. There are differences in the ways and means of the accompanying music. If the arts Cianjuran used harp Lamut used in the musical instrument flying high.

Art is named Lamut or Balamut comes from a figure of influence in the kingdom called Lamut.

Usually lamut the arts because there was this vow, for example, the desire to get the boys if they held terkabul arts Lamut. In addition to vows can also train as khitanan events, weddings, and other customary events.

Lamut implementation will be done at night starting at 22:00 until 04.00 or at the dawn arrived. Narrator in this Lamut nickname given Palamutan. At the event, Palamutan with a big flying sit back dipangkuannya placed in tawing halat (the wall), lamut.jpgdikelilingi by pendengarnya consisting of old-men-young women. Special place for women is provided in the wall of the middle line.

Before the story begins Lamut soapbox offerings consisting of water flowers, water baboreh, young coconut, palm sugar and sticky rice. In addition, there must be always a whiff perapen incense. The goal is that the way the story in the carriage Lamut running smoothly, there is no interference whatsoever until the end of the event.

Lamut story if told in a way not usual to take a long time, enough for about 2 hours. The story has been known by many people. But why people always want to watch and listen Lamut? This is the specialty of Palamutan. Lamut stories were tuneful songs with accompaniment and a beautiful aircraft. Not all the stories dilagukan, there are dialogue-a dialogue in the story and then diselingi by flying wasp. Moreover, the present Lamut two people, will look at two very interesting Palamutan this bersahut-replication. Winder fly often used to mark a shift in the story the story to show the atmosphere moves the story or inserts a message in the story.

Dancing GANDUT

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Thu, 19 Feb 2009 15:00:00 PST

Dance results from cultural values that have Banjar mystical one big dance is Gandut. Name of this dance comes from the designation of penarinya namely Gandut. If Java is known in the community in terms tledek dance tayuban. Dancing Gandut this at first only played in the kingdom palace, more or less on the new year 1860-an dance to develop this remote kingdom and become the preferred type of art by the common people. This dance is played every crowd, for example, the night of the event, hajad expectations, village funds, and so forth.

Gandut is a profession that is unique in the community and not be able to hit-woman Gandut. In addition to the requirements must be beautiful and skillful dancing, a Gandut also must take care of art and self-incantation incantation particular. This additional knowledge is very important to protect himself from the hands usil few spectators who do not want to memikatnya use of black magic. Previously many Gandut the diperistri by the noble and government officials, as well as look pretty, they also believed to have knowledge that spectators charmer dikehendakinya. Nyai Komalasari Queen, consort of Sultan Adam is a former dancer Gandut famous.

During the kejayaannya, arena dance Gandut often also become the arena for prestige competition compete in the men danced. Competition can be seen through the way the boys are dancing skills and demonstrate the large amount of money given to the Gandut.

Dance as entertainment Gandut growing in the area of agriculture in the entire kingdom of Banjar, the center in the region Pandahan, Tapin Middle District, District Tapin.

Dancing Gandut since the 1960s have not grown more. The Islamic religion is a major cause of the loss of this type of art more gempuran with other types of modern art. Now Gandut can still be played but not the original dance only as a reminder in the preservation of traditional art Banjar.

BAKISAH (tells)

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Wed, 18 Feb 2009 15:00:14 PST

In the community tribe Banjar people listen to the story is typical retired. In daily life stories submitted by people who have their age or their parents to their children. Messages delivered and the form of advice, parables, expectations, and so forth. They directly show which should diteladani or example, and which should be abandoned or dijauhi in the life of the ship as implied in the story that they ungkapkan. So the story one way dituturkan inculcate noble values of life in the tradition of Banjar.

Tradition tells the tribe Banjar dituturkan not only in the environment of the family or household, but there is also the public. Art tells the general public in the middle of this popular BAKISAH called. The person who carries the story, called Air Acts.

They work as a Valet Acts are often called to different areas menuturkan collection of stories for them. Activities Bakisah generally done at night. Stories containing moral messages often to refresh diselingi humor atmosphere. In general, the message content ranging aspects of societal life, attitudes towards older children, between the urbane and in the association.

The main function of Air Acts provide examples of life between the good and the bad customs that developed in the form of interesting stories. Expertise Air Acts or to determine that the message does not diselipkan in a story. Previously entertainment for the people often called Air Acts for the various events in the community Banjar crowd.

Culture and Tourism Office of South Kalimantan through the Office of Sub-Art a few years this routine preservation of this annual event with competition Bakisah Bahasa Banjar. In this competition the participant usually spent all abilities, in addition to the content of the story was interesting Banjar thick dialects, costumes and unique body movement often they also show

ART MADIHIN

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Tue, 17 Feb 2009 15:00:02 PST

Art madihin has similarities with the art lamut, there is a difference in the way of delivery syairnya. In lamut poetic form that was a story or myth that is often heard, and more at the theater arts with the players and stories. While the lyrics are often poetic in madihin created spontaneously by pemadihinnya and contain more humor to entertain with fresh advice-helpful advice.
According to various information madihin word origin of the word stanza, a kind of poetry in the old literature Indonesia because he sing lyric-poetic coming from the same end sound. The song could also mean a sentence laudation (Arabic) this can be seen from the expressions in the form madihin who sometimes praise. Another opinion says comes from the word madihin Banjar language is papadahan or mamadahi (give advice), this opinion can be justified because of the content of syairnya often contain advice.

Origin of the emergence madihin be difficult. Have argued that the village of Tawia, Angkinang, Hulu Sungai Selatan. From Kampun Tawia this is then spread even overlooks South Kalimantan East Kalimantan. Madihin players who generally comes from the famous village Tawia. There is also the art that came from Malacca madihin influenced by the poetic and traditional drum from the Malacca peninsula of land which is often used in traditional Malay accompany the original rhythm.

But the only clear madihin the language in all syairnya Banjar, which means the person who started the race from the Banjar inhabit South Kalimantan, dilogikakan so that madihin come from South Kalimantan. Madihin has been estimated to have spread since the Islamic kingdom of Banjar in the birth of affected kasidah.

In the first main function madihin to entertain the king or the palace officials, who were content versify contain praises to the kingdom. Madihin further develop the function of people in becoming certain times, such as the entertainment after the harvest, persandingan penganten enliven enliven and other big days.

Art madihin generally digelarkan at night, long presentation is usually approximately 1 to 2 hours on-demand providers. Previously pementasannya much done in the field that opens to accommodate more spectators, more often madihin now digelarkan in the building is closed.

Madihin can be by 2 to 4 players, who play a lot when they apparently compete compete poetic furor, said mutual responsibility, mutual sindir, and lose each other through the lyric that they create. madihin.jpgDuel is called baadu kaharatan (compete severity), or groups pemadihinan the late or can not reply to a lyric from lawannya will be declared lost. If only one person played the pemadihinan must be rampak drum set and sound that will be shown to give effect in dynamic delivery of minstrelsy. Pemadihinan is like a single orator, he must be clever to attract audiences with humor and fresh tarbang of the cuff with a beautiful rhythm.

In performance madihin have a structure that is basic, namely:

1. Opening, with sampiran sing a verse that begins tarbang called bop bop lines. Sampiran pantun usually provide information about early madihin theme that will be later.
2. Install Tabi, ie, carries the lyric or verse that respects its audience, to provide introduction, thanks and ask if there is any confusion in the presentation later.
3. Deliver the content (manguran), the lyric-lyric content is consistent with the presentation theme or appropriate the requested host, delivered before the establishment of the first sampiran versifier (mamacah interest).
4. Finally, conclude what meaning versify while seeking to respect the audience farewell poem closed with the cover.

At this time the famous pemadihin in South Kalimantan is Tralala and her son John Hendra.

Theater Japin Carita

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Mon, 16 Feb 2009 15:00:01 PST

Japin Carita is a traditional theater people who grow and develop in South Kalimantan are from the development of dance and music japin. Usually Japin Carita to be brisk this evening and the days of Islam. Theater this type may be spelled almost extinct due to very rarely played. Arts groups that can still play it, among others, Banjarmasin and Theater Group La Bastari Kandangan

In the year 1900, was in Banjarmasin Japin know Arabic, which ditarikan by Arab tribes in the Arab villages. Japin a large Arab communities, namely Kampung Melayu, Kuin, Alalak, Miai River, Antasan Small, Kalayan, Banyiur. Until the year 1960 in Jakarta more than ten Japin orchestra complete with dance steps that the Japin quite similar to the Arab Japin. 1961 in the village river Miai dipergelarkan Japin containing Japin dance followed by a story. In the 1975's from Tapin said that Japin found in the village tells Binuang In. Previously information obtained in the year 1958 there is a presentation in Japin Bakisah Margasari.

Thus, Japin Carita appeared in 1958 and not known who pencetusnya. Clear, that Japin Carita is the development of dance and music Japin pesisiran. Born in Banjarmasin Estimated due to tonil / playwright and comedy on the noble and influential people in Badamuluk Margasari.

DUNDAM

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Sun, 15 Feb 2009 15:00:03 PST

Writing about the art Dundam this I see very little, so that any posts on this time simply to introduce urang Banjar that the arts have typically called Banjar Dundam.

Art Dundam or in the words of Badundam, believed art is derived from Lamut. Dundam existing since 1500 ± M in the form of oral literature, after the entry of Islam in South Kalimantan, art is accompanied by musical instruments tarbang. Dundam estimated to come from the word "Memundang" or "Invite" (figures faerie). (Ian Emti, Dundam Oral Literature of South Kalimantan. 1991)

Development of this art is estimated to be in rural areas along the river. The only places that still have this art is in the Village of Lok Baintan (Kecamatan Sungai Tabuk) and Pundun Leaf (District Karang Intan Kabupaten Banjar)

Procedure is continued as follows:

1. Pendundam sitting with fireplace incense that must remain smoke and smolder.
2. Before the story begins pendundam mengundan figures faerie treat with 40 kinds of cakes typical Banjar.
3. All process is done in the dark blur night (without light irradiation)

After serving the early start then finished pendundam carry dundam. The story is the story of ordinary didundamkan kingdom berantah bran with various figures fiksinya. The story never designed first, but according inspiration flow that comes when mendundam. The difference between Lamut with Dundam is the Lamut, Palamutan uncle told about Lamut (main story characters), while the Dundam, Pendundam itself that functions as a main character story (first point of view).

Dundam serving time usually starts at 20:00 or 21:00 and ended at the dawn. Dialogue delivered in Banjar diselingi Indonesian language, or as in the ancient Javanese puppet.

South Kalimantan -The Region

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Sat, 14 Feb 2009 15:00:02 PST

The Meratus Mountains divided South Kalimantan into two distinct regions. The eastern part of the province is filled with the mountains covered with dense tropical rain forests, home to the “Orang Gunnung” or Mountain Peoples.

Collectively called the Dayak, they form the minority of the region’s population. The Southern section of the province is much flatter with large rivers, meandering through lowlands to vast mangrove swamps along the coast, helping to make South Kalimantan an exceptional fertile land. Many villages and settlements have been built along these rivers, particularly the Barito River, by the indigenous majority, the Banjar.

South Kalimantan is full colorful and distinctive traditional arts and cultures which can be seen in its people’s ways of life, art, dance, music, ancestral dress, games and ceremonies. Exquisite traditional and commercial hand-crafts are all made from local raw materials which include a variety of precious and semi-precious stones, gold, silver, brass, iron and a wide variety of trees such as ironwood, meranti, pinups and rubber have helped to make the province a unique and rich natural resource.

The provincial capital, Banjarmasin, lies a short distance from the mouth of the Barito River at its confluence with the Martapura River. The rivers are literally the lifeblood of the city and everything revolves around them. They are lined with tightly packed stilt houses. A lot of business is done on the water ways; floating markets flourish selling an enormous variety of goods including a tropical selection of fresh fruit such as Kesturi, a rare aromatic species of mango, durian, rambutan, butter fruit, pineapple, watermelon and banana.

South Kalimantan is well connected with cities all over the Indonesian Archipelago through Syamsuddin North airport, which is about 25 km from Banjarmasin. This busy airport handles DC-9’s, allowing Merpati Nusantara, Bouraq and Sempati dan Dirgantara Air to service the prov-ince. South Kalimantan can also be reached by sea at Trisakti arid Banjarmasin. For interior travel there are roads, but the waterways are the pre-ferred form of travel.

Banjarmasin and its surroundings

Banjarmasin, the capital city, lies at the delta of the Barito river. Nicknamed ‘River City’, it is crisscrossed by numerous rivers of various sizes and lengths, the major two being the Martapura and Nagara. Local people build traditional floating houses made of wood or bamboo facing the rivers called “lanting”. There is a virtual flood of lively floating markets. To experience Banjarmasin you must take to the river, either by “klotok” (river bus), or a speedboat for longer trips.

Banjarmasin is developing as a tourist city. Supermarkets such as Mitra Plaza, Duta Mall, Metro Hi-tech mall,Ujung Murung Central Market, and Pasar Baru provide for the travelers needs. There are 7 starred hotels and 20 lesser hotels. For entertainment there are 21 movie theatres, Karaoke bars, cultural theatres and restaurants serving local as well as international foods.

Award after the first 8 years

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Fri, 13 Feb 2009 15:00:01 PST

after 8 years, this is the first cup in the can by the Music Group skelter DENDANG BANUA. Advised, because once this new group DENDANG BANUA Music skelter following the festival. difestival who first attended this group DENDANG BANUA Music skelter to get the champion 2 best costume category.
Pride for a group of personnel skelter Music DENDANG BANUA because it can bring music tardisional in the city of South Kalimantan, namely foreign yogyakarta. Not a bit of give appreciation to our Music Group skelter DENDANG BANUA.
Thanks for appreciation, I hope all of that for us to be motifasi Music Group skelter DENDANG BANUA exis to stay and continue to preserve the culture in the foreign Banjar.

DENDANG BANUA PANTING MUSIC GRUP

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Thu, 12 Feb 2009 15:00:01 PST

Music group DENDANG skelter BANUA already in the KM HSS Yogyakarta since 2001. Establishment Music Group skelter DENDANG BANUA based on the desire of the members KM HSS Yogyakarta to preserve and promote culture, especially music banjar skelter in Yogyakarta. Until now DENDANG BANUA exis remain in preserving and promoting music mengikuiti skelter with various cultural and even a pride for the people of South Kalimantan which is located in Yogyakarta.

Music group DENDANG BANUA skelter seudah often in the law to follow the various cultural events held in the city of Yogyakarta as: Degree Nusantara Arts, Literature Festival, warning Oath youth, so pestas on the subscription ualng years yogyakarta city boards and other cultural events in the .

It is eight years old Music Group skelter DENDANG BANUA stand, so many of obstacles from the musical instrument which piggledy pickup, the costumes never change, but all that does not become a barrier to keep their own culture.

Pride that never can be said with the right words to preserve the cultural BANUA saurang in foreign

Myths about the Music skelter

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Wed, 11 Feb 2009 08:00:01 PST

Twang "skelter", keprakan "Babun," slice violin, flute blast, and the brunt of gong played simultaneously, a harmonization of the music to be heard is very delicious. Lilt wilt make the body without conscious swing.

According to the trust of the community "skelter", "skelter" will have any traction when he is given a great mascot. Therefore, in the past, the "skelter" is always something to enter in the stomach "skelter" before "skelter" is completed.

Amulet-amulet, among other lirang mine, which is a kind of magic. According to the belief "skelter", Tambang Lirang can make fans and spectators so crazy for the music "skelter". So, they always want to watch the musical "skelter". Mine Lirang the audience longing for the sound of the didengarnya very tuneful.

Other mascot is Kenanga Flower. In this case, the interest kenanga is that audiences like the music "skelter" and the nostalgic feel resentment when not hear "skelter" in sentil people.

In addition, there is also a talisman that aim to be awe-struck spectators to the sound of the title "skelter", and any posts that is aimed at a specific audience in order to hear a terpukau "skelter".

Among the well known Pemantingan Datu Datu-raiser "skelter". According to belief, Datu is usual to give the sound quality is very tuneful. Some of the most recognized Datu Datu is slim, Datu Bangkala, Datu Kalambahai, Datu Kundarai, Ujung Datu, Datu slim and Sari, which is the only woman Datu.

In the first, if "skelter" would be played in the middle of many people, first in the call-Datu Datu is a way to burn incense and put "skelter" in the top of the smoke was incense.

In the case of, "skelter" have differences. Because of the differences, the muncullah names "skelter". Some of the names that had diinventarisir Elephant is Delinquent, brackets daughter, Putri Manjanguk, packer or Mayang Mayang Marakai, Sari Dewi, and Si Palatar collapse.

Among the types are, the most widely used is the Elephant and Delinquent Putri brackets. Meanwhile, the most rare is Mayang Marakai. For, assume that there is when using the "skelter" type, then the group can rakai or broken pieces.

But despite the magical elements, the strain or the harmonization of music "skelter" really nice to be heard and enjoyed.

Skelter music, traditional music of South Kalimantan (South Borneo)

noreply@blogger.com (Grup Musik Panting "DENDANG BANUA") — Mon, 09 Feb 2009 21:13:45 PST

IN Banjar language, the word "skelter" contains many meanings. One of them is the spine of the fish contain poison. However, we are discussing here is not a problem fish spine. Instead, on a musical instrument called a musical instrument "skelter". In this case, "skelter" means the quotation. Namely, blast chord with technical criticism.

About when the birth of music "skelter", until now the data has not been obtained in writing. But, according to oral tuturan developing in rural areas and villages in South Kalimantan, music "skelter" is already there before the era of colonialism. More or less on the 18-th century. At that time, the music "skelter" used to accompany dance Japen and Gandut.

In this period, the music "skelter" accompanied with istrumen like babun, gong, flute, and fiddle. But after the violin into the kingdom of Banjar, the fiddle was replaced by the violin.

In the early stages and development, "skelter" only has three tali.atau chord. Where each string has the function itself. The first is called pangalik strap. That is the rope to be pronounced penyisip chantey or melody.

The second rope, called panggundah or pangguda used it as a song or paningkah. Are called agur third strap that functions as a bass.

Rope "skelter" in the past made from haduk hanau (ijuk), pineapple fiber, bark bikat fiber, yarn machines, yarn or sinali.

But now, because it is easily established, with more added bunyinya a more tuneful, nylon yarn appear more widely used. Or, some are using a wire rope with a disquisition on the four-body "skelter".

Decadency music "skelter" going on the Japanese colonial era. That time, the music "skelter" rarely dipergelarkan. Only reasonable, because at that time, each person must fight hard to maintain life. Including tens of years after the Japanese left Indonesia.

1984 is the year that is set for the life of music "skelter". At that, the artists of the music research in this area Tapin District.

From the results of the research, says that music "skelter" is still eligible to be appointed again to the surface. Everything was prepared. Lagu-lagunya, renovated and replaced with songs that have been Banjar diaransement back in such a way.

After secukupnya be addressed by not leaving the essence of a musical tradition, in 1984 also, the music "skelter" tried to regional music festival se-Indonesia.

The result is very satisfying at the same time surprising. Music pantng successful was ranked 10 major music archipelago. Since that time, development continues to be improved. Until the end, the group-born music group "skelter" in all corners of the South Kalimantan like this now. Let us continue to develop and perpetuate a typical local arts us.