Benjang (Benjang Wrestling)

Initially the game benjang just have rules that are based on the courage of players, the player must fight a small body large-bodied players as long as the players are indeed bold. But as the development of the times, the rules were modernized in order to prioritize the safety of the players, by grouping players according to age and weight.

There's no denying that Indonesia is a country rich with art and culture. This is evidenced by the variety of unique artistry in every area. One of them is the art that comes from the Tatar Sunda, namely benjang.
Benjang art is original art that developed in West Java at the foot of the mountain Manglayang, more precisely in the area around Ujungberung, Cibolerang to Cinunuk. Until now not known who created the art. But according to a source who was a prominent figure in the village Benjang Ciborelang, namely Adang Hakim, it is known that benjang introduced in the area Cibiru by Hj. Yayat around 1918.
Benjang itself is a traditional martial art that has a characteristic unique than others. In contrast to the martial arts fight away from each other, the players are required docked benjang as in wrestling. Benjang usually held at night in a field soil or also the home page.
Like the other martial benjang also has techniques in movement. There is a technique dengkek (pinched neck), engineering lift (lift man), and techniques beulit (convolute opponent's leg with our feet). Mechanical beulit itself there are three kinds, namely beulit inside, outside and beulit side. Various techniques lockdown is classified as a deadly technique in martial arts.
Like the other traditional martial arts, the show benjang also always accompanied by traditional music. The instrument consists of a tambourine, drums, manacle, drums, drum and trumpet. Sundanese songs were always accompanied him during a show. The song is often sing as a show titled Kembang Beureum, Sorong Dayung, and Renggong Gancang.
Benjang art is not just for entertainment or martial using only muscle, but more than that benjang laden with multiple meanings. Starting from the beginning of the game, which opened with a ritual burning of incense which aims to ask for salvation in God, and closed with the players shook hands and berpelukkan. It shows that this benjang can be great to get closer to the gods and as a sport full of attitude sportsmanship. Benjang accordance with the motto, "Clean hate Handap asor", which should not be arrogant and win the loser should accept defeat.
In the game, the player who lost nangkarak (supine) can still see the stars, this means we have to keep remembering god though in a state of decline. While the winning player will see the ground, this means that even though a win we should not be arrogant because we are going back to the ground (dead).
Benjang also famous as a sport that has many benefits, one of which could maintain health. It also benjang can make a person become a person humble, responsible, have a forgiving spirit, and could foster confidence. Other side effects can also be used as a means of self defense and the place to make friends.

Tari Topeng Cirebon (Cirebon Mask Dance)

Cirebon mask dance is a dance in the Sultanate of Cirebon. Cirebon mask dance is an original art Cirebon area, including Subang, Indramayu, Jatibarang, Majalengka, Losari, and Brebes. Known mask dance, as dancers use masks when dancing. In Cirebon mask dance performances, the dancers known as the mastermind (dalang), because they play such a character masks.

This mask dance a lot of variety and growing in terms of movement, as well as a story to be conveyed. Sometimes the mask dance dancer played by one person, or it could be played by several people.

Performances place
Cirebon Mask Dance in the ancient times is usually performed using a performance open semicircular, for example, on the home page, in Blandongan (party tents) or in the bale (stage) with the torch as the lighting, but with the development of the times and technology, dance Cirebon mask on modern times also performed in the building with electric light as a light system

Objectives of performances
The aim of the Cirebon mask dance performances broadly divided into three main objectives, there zare:

• Performances communal, is an event performances were held for the common good of society, so that almost all other established participate in this event, an event that was performed was very spectacular with their pageantry puppeteer, artistic attractions and forth and held more than one night, the example of communal performances of which is a celebration of the village, ngarot kasinoman (youth event), ngunjungan (grave pilgrimage)
• Individual performances, the show event held to enliven the celebration of the individual, for example, is weddings, circumcisions or khaulan (implement vow or promise)
• Performances unison (together), an event performances around the village that the initiative came from the mastermind behind the mask itself, bebarangan usually done by the mastermind behind the mask into village territories that have been harvested, the village is crowded or come to get around in the city because the village has not been harvested, is experiencing drought or are lonely people.

Structural performances

Structural performances in Cirebon mask dance depends on the ability of the group, gong facilities available, the type of presentation mask and drama (stories) in story lines. In general, the structure of Cirebon mask dance performances can be divided into two types:

• small mask, has a minimalist structure both in terms mastermind, equipment, crew and grain. Average number of crews in the structure performances mask alit usually consist of five to seven people, all of which are multi-role, in the sense not just a puppeteer Mask are brought half mask, but the wiyaganya also helped by giving jokes lightly. Dialogue in the mask alit done spontaneously by the existing situation.
•  big Mask , has a larger structure and raw compared alit from the presentation of the mask. That is because the mask is big is a form of refinement of the mask alit, the structure of the mask of which, their musical accompaniment (in Cirebon: tetaluan) complete their five-act dance successive like banners, samba, rumyang, tumenggung and klana, their lakonan and jantuk (advice) given at the end of big performances mask

Type

One type of mask dance is a mask dance kelana Wungu Kencana is a series of style mask dance that tells the queen Kencana Parahyangan Wungu pursued by the Minakjingga prabu madly head over him. Basically, each mask that represent each character describes the human disposition. Kencana Wungu, with a blue mask, representing the character of a lively yet graceful. Minakjingga (also called wanderers), with a red mask represents the hot-tempered character, tempramental and impatient. This dance work of Soeradiredja Nugraha.

Dance styles

• Beber Cirebon mask dance style

Beber Cirebon mask dance style is one of the Cirebon mask dance style that was born in the village of Beber, sub Ligung, Majalengka regency, West Java. Since the 17th century, initially mask dance in the village Beber taken by an artist from Gegesik, Cirebon named setian, but according to experts Dalang Cirebon mask style Beber like mimi Yayah and Ki Dalang Kardama who first brought the dance masks to the village of Beber and became the Cirebon mask dance style is mimi Sonten Beber and Surawarcita which still comes from Gegesik since it lowers several generations of artists.

• Brebes Cirebon mask dance style

According to the Babad Tanah Losari told that Prince Angkawidjaja go to Losari sultanate Cirebon Keraton pulled from life because they do not want to be stuck with the system sultanate glamorous life. In addition, Prince menepinya Angkawidjaja of Cirebon Sultanate for their internal conflicts about the arranged marriage between himself and his brother namely Panembahan Queen.

When Panembahan Queen that included brother Angkawidjaja about to marry the daughter of the King Pajang namely Nyai Mas Gamblok, is actually the daughter of Gamblok prefers Prince Angkawidjaja, but because of the order of age, Panembahan Queen older expressly reserves the right to marry Nyai Mas gamblok, avoid things that are not cool happens, Prince Prince Angkawidjaja then went east of the land of Cirebon to settle in the hamlet riverbank Cisanggarung was eventually named Sejong, from this place then Prince Angkawidjaja develop their own skills in the fields of art, some of his creation is believed to Cirebon batik motif Gringsing and dance Cirebon mask style Losari.

• Celeng Cirebon mask dance style

Celeng Cirebon mask dance style is one of the Cirebon mask dance styles that spread centered on the block (village) Celeng, Loh Bener, Indramayu

• Cipunegara Cirebon mask dance style 

Cipunegara Cirebon mask dance style  is one of the Cirebon mask dance styles that were spread around the region Pegaden districts up to the riverbanks Cipunegara which is the border with the district of Indramayu. Cipunegara cultural development in the region (including in most low-lying areas Subang district) is inseparable from community contributions. Cirebon mask dance style this Cipunegara by people called Mask dance Menor, because the sonority of voice and beauty of the dancers

• Gagesik Cirebon mask dance style

Gegesik Cirebon mask dance style  has spread area around Gegesik subdistrict, Cirebon regency. In Cirebon mask dance style Gegesik most noticeable difference is the look on the characteristics of the mask. Panji mask on Gegesik style described by the characteristic white face with a look of quiet, narrow eyes with a look that is always ducking sharp, sharp nose and a smile

and other Cirebon mask dance style.

 

WAYANG GOLEK

Wayang golek  is a traditional art of Sundanese puppet show made of wooden dolls, which are especially popular in the Land Pasundan, Regional distribution stretching from Cirebon in the east to the area of Banten in the west, even in Central Java region bordering West Java often performed wayang golek performances.

Puppet is a form of folk theater is very popular, especially in Java and Bali. People often link the word "puppet" to the "shadow", as seen from a puppet show that is put on the screen, in which appears a shadow. In West Java, in addition to known wayang kulit, the most popular is the Puppet show. The term golek can refer to two meanings, as a verb word marionette means 'find', as a noun golek meaningful wooden doll. [1] With regard to the puppet show, there are two kinds of them puppet show flat (cropped) and puppet show purwa that in the Sunda region. Except puppet which is a form of dance-drama is danced humans, most forms of puppet art as a puppeteer played by a leader who once sang suluk show, voicing Antawacana, set gamelan organize songs and others.
As the storyline puppet general, in a puppet show also usually have good plays strain. The story line can be drawn from folklore such as the spread of Islam by Walangsungsang and Rara Santang nor of epic derived from the Ramayana and Mahabharata using the Sundanese gamelan Sunda (salendro), which consists of two saron, a howl, a selentem , one device boning, boning rincik one device, one device kenong, a pair of gongs (kempul and goong), plus a set of drums (a drum Goon and three kulanter), xylophone and fiddle.

In the puppet show, a play that is commonly performed carangan. Only occasionally performed the play lines. It seemed to be a measure of intelligence puppeteers create carangan nice and interesting. Some of the famous puppeteer puppet show of which Tarkim, R.U. Partasuanda, Abeng Sunarya, Either Tirayana, Apek, Asep Sunandar Sunarya, Cecelia Supriadi, etc.
At the initial appearance, the wooden puppet art was born and developed in the north coast of the island of Java in the early 17th century where the oldest Islamic kingdom in Java, namely Demak Sultanate grow there, using Java language in the dialogue. According to the legend that developed, Sunan Kudus using this initial form of a puppet show to spread Islam in society.

Art puppet show Sundanese language which is currently more dominant itself is expected to start growing in West Java during the expansion of the Sultanate of Mataram in the 17th century, despite the fact that some of the influence of the cultural heritage of Hinduism still survives in some places in West Java as the former territory of the Kingdom of Sunda Pajajaran. The grip and the way the story according to the puppet show leather puppet version of Java, especially tale puppet prototype (Ramayana and Mahabharata), although there are some differences, misalmya in naming figures punakawan known in Sundanese version. The wooden puppet art Java language can now be found as a contemporary form of wayang Menak in Kudus and Puppet smacking in the Cirebon, although its popularity is not as much a puppet in the region purwa Priangan.

Performing arts puppet show starts to get its present form around the 19th century. When the art puppet show is a performing arts theater folk dipagelarkan in rural or urban residency. In addition to functioning as a complement or ruwatan selamatan ceremony, performing arts puppet show also became a spectacle and entertainment in a particular event.

Since the 1920s, during a puppet show accompanied by sinden. Sinden popularity in those days was very high so that beat the popularity puppeteer puppet show itself, especially when his time Upit Sarimanah and Titim Patimah around 1960.

Puppet show today is more dominant as a folk performing arts, which have functions that are relevant to the needs of the community environment, both spiritual and material needs. It thus can be seen from some of the activities in the community such as when there is a celebration, a celebration both (party festivity) in order circumcisions, weddings and others sometimes diriingi with a puppet show.

Now in addition as a form of puppet theater performing arts, crafts puppet show is also often used as souvenirs by tourists. Puppet show characters commonly used as souvenirs crafts is a character pair Rama and Shinta, the famous puppet characters like Arjuna, Heroine, and Krishna, as well as figures such as Semar and Cepot Punakawan. Handicrafts puppet show is used as decoration, decoration or ornament and interior room. As in modern times Puppet show after creation has begun to be developed by the craftsmen of young puppet, which still does not eliminate the grip of Puppet show purwa, of which there are craftsmen wayang golek Evolution, Caraka Wayang Indonesia (FWI) and others.
The development of the puppet show from the 19th century until the 20th century can not be separated from the manipulator continue to develop this traditional art, one of which Ki H. Asep Sunandar Sunarya who have provided innovations to the puppet show in order to keep abreast of the times, one of the creativity that is the Cepot where he is now in the hands of the puppet show is not only ancient art that is said. but the traditional art that must be developed in the modern era.

SISINGAAN

Sisingaan (Sundanese Traditional Arts Society)

Origin
Sisingaan is a distinctive arts community Sundanese (West Java) featuring 2-4 stuffed lion that was carried by the players while dancing. On top of the stuffed lion that carried it usually sits a boy who would be circumcised or a public figure. There are several versions about the origin of art that grew and developed in the community of West Java. The first version says that sisingaan appeared around 70s. It was at the bridge of West Java in TMII displayed art gotong lion or sisingaan the shape is still modest. And, from the appearance on the bridge of West Java sisingaan art that later became known by the public until now.

The second version says that the art sisingaan invented around 1840 by artists from areas Ciherang, about 5 km from the city of Subang. At that time, Subang regency was once the "property" of the Netherlands and England by establishing P & T Lands. This causes as though Subang into an administration area double, because politically controlled by the Dutch, but the economy is under the influence of employers P & T Lands. As a result, the people of Subang to great suffering. Under these conditions, the arts sisingaan born as a form of popular resistance against the occupiers of both countries. And, to assert that art is a form of resistance sisingaan, then used two stuffed lions, a symbol of the Netherlands and the United Kingdom. Therefore, to this day in every game sisingaan always displayed at least two stuffed lions.

In a further development, the arts sisingaan not only spread to other areas in Subang district, but also to other districts in West Java, such as Regency Bandung, Purwakarta and Sumedang. Besides spread to some areas, this art is also experiencing growth, both in the form of a lion puppet refinement, the arrangement of dance, costume players, as well as waditra and songs played.

Player
The players sisingaan generally men who are members of a group consisting of: 8 penggotong stuffed lion (1 doll carried by 4 people), a leader of the group, some players waditra, and one or two people jajangkungan (players using a long wooden 3-4 meters to walk). These players are the ones who have special skills, both in dance and play waditra. Specific skills that need to be owned by any player because in a collective show sisingaan needed a solid team that played all the dance moves while carrying a stuffed lion to be in harmony with the music played by the nayaga.

Points and Gaming Equipments
Sisingaan art is generally shown at noon with around the village at the time there was the circumcision ceremony, welcome guests, the inauguration of the village head, the celebration of independence day and so forth. The duration of a staging sisingaan usually takes a long time, depending on the area or whether the village will be surrounded.

Equipment used in the game sisingaan are: (1) two or four stretchers stuffed lion. Order and head dolls lion stretcher is made of wood and bamboo wrapped in a cloth and given a seat on his back. Whereas, for feathers in the head and tail are made of raffia thread. For the record, the first lion-shaped stretcher is made of wood with a feather from the rafters and fireworks are usually made impromptu at a time will be performing. So, first sisingaan not permanent, but only used once and then discarded; (2) a set waditra consisting of: two large drums (drums and percussion child ovaries), a trumpet, three tap (bonang), a kentrung (kulanter), a small gong, and a kecrek .; and (3) fashion players consists of: trousers shucks / pangsi, iket barangbang Semplak, clothing and footwear tarumpah taqwa or salompak.

Performances of Sisingaan
Sisingaan show begins with words of welcome group leaders. After the group leader gives a speech, then the child will be circumcised or community leaders who will be paraded welcome to climb stuffed lion. Furthermore, the tool accompaniment sounded to bring the songs are rhythmic dynamic to mark the beginning of the show. Then, a number of 8 players will start carrying two stuffed lions (one doll carried by 4 people).

After the penggotong stuffed lion ready, then the leader will start giving cue that they start doing the dance movements simultaneously and concurrently. The penggotong doll was immediately perform acrobatic movements are quite thrilling. Dance movements usually played by penggotong stuffed lion is: igeul ngayun glempang, post / horses, mincid, padungdung, gugulingan, bangkaret, put up, kicking two steps back, Kael, EWAG, jeblang, Depok, solor , sesenggehan, genying, turn taktak, nanggeuy lion, lifting jungjung, ngolecer, emblem, pasagi tilu, literacy cau, nincak rancatan, and kakapalan.

Meanwhile, the songs played by the interpreter kawih to accompany the dance is usually taken from art Tap Tilu, Doger, and Kliningan, such as drought, Song, Titipatipa, Gondang, Kasreng, Gurudugan, Mapay Roko, Flower yam, Kangsring, Kembang Beureum, fruit Kawung, Gondang, Tenggong Petit, Sesenggehan, Badudud, stumps Kawing, Side Butut, Sireum Beureum, and the song interlude (Siyur, Tepang Sono, Durable Rajet, Fibre Salira, Honey and Poison, Mr. Wonderful, Goyang Dombret, Warudoyong etc. ).

Performing this sisingaan done walking around the village or the village, and finally returned to its original place. And, with the arrival of the dancers in the first place, then the show was over.

Culture value
Art as an expression of the human spirit, of course, contains the aesthetic value, including traditional arts sisingaan who fostered and promoted by society Ciherang Subang district. However, when examined in depth sisingaan contains not only the aesthetic value, but there are other values ​​which in turn can be used as a reference in everyday life for the community supporters. These values ​​include teamwork, teamwork, discipline, perseverance dam. The value of their collaboration visible unity in preserving the cultural heritage of its predecessors. Compactness and order value is reflected in a staging that can run smoothly. The value of hard work and perseverance is reflected in the mastery of dance movements.

KUDA RENGGONG

Kuda Renggong (Renggong Horse) (Sundanese Traditional Arts Society)

Origin
Renggong horse community is a typical art Sundanese (West Java) featuring 1-4 horses can dance to the rhythm of the music. On top horses are usually sat a newly circumcised child or a public figure. The word metathesis renggong is ronggeng meaning of rhythmic dance moves with swing (footsteps), followed by the movement of the head and neck.

Art renggong horse or horses were formerly commonly called Igel because it can ngigel (dancing) is said to grow and thrive in the community Cikurubuk Village, District Buah Dua, Sumedang regency. At that time (around the 1880s) there was a boy named Sipan who have a habit of observing the behavior of his horses named the Cengek and the Dengkek. From his observations, he concluded that the horse can be trained to follow the movements desired by humans.

Subsequently, he began to train the Cengek and the Dengkek to perform movements such as: running transverse (adean), motion run to the edge like a chicken in heat (Beger), steps short but fast (torolong), stepped quickly (derep or jogrog), leg movements, such as a half run (dogs run away), and the footwork fast forward and simultaneously (gallop) as the movement is usually done by a racehorse. The means used to train the horse to want to do these movements is to hold the reins of horses and whipped him from behind in order to follow the rhythm of the music that is played. It was done for three consecutive months until the horse becomes accustomed and every hearing he will dance musical accompaniment by itself.

Seeing the success of Sipan in the training of the horses 'ngarenggong' make Prince Aria Surya Atmadja that time it served as Regent Sumedang became interested and ordered him to train his horses imported directly from the island of Sumbawa. And, of training horses owned by Prince Aria Surya Atmadja Sipan is finally known as the creator of art renggong horse.

In a further development, the arts horse renggong not only spread to other areas in Sumedang, but also to other districts in West Java, such as Bandung and Purwakarta Regency. Besides spread to some areas, this art is also experiencing growth, both in the quality of his game and waditra and songs played. In Sumedang District renggong horse game quality measured by the standards of the Union of Horse Sumedang (MCC), which is divided into three classes, namely: (1) good quality horses and been a champion in horse festival renggong district level; (2) the quality of the mid-level horse (quality market / market orders yet); and (3) the horse renggong are still in the learning phase (new horse).

Player
The players renggong horses generally are men who are members of a group consisting of: a group leader (the trigger), some players waditra, and one or two players silat. These players are the ones who have special skills, both in dance and play waditra. Specific skills that need to be owned by any player because in a horse show renggong collective nature needed a solid team that played all the dance moves can synch with music played by the players waditra.

Points and Gaming Equipments
Renggong horse art is generally shown on the show: circumcision, welcome guests, the inauguration of the village head, the celebration of independence day and so forth. Usually do during the day and around the village. The duration of a horse staging renggong usually takes a long time, depending on the area or whether the village will be surrounded.

Equipment used in the horse game renggong are: (1) one to four horses that have been trained and equipment comprising: stream (place or tool for sitting equestrian), seser (bandage a horse's head), sanggawedi (footrests for rider ), apis tail (rope anchoring stream associated with the base of the ponytail), Eles (rope steering the horse), kadali (iron mounted on a horse's mouth to tie the reins), ebeg (ornaments stream), sebrak (the layer below the sidelines in order horseback no cuts / abrasions), and the carriage (belt attached to the abdomen horse as reinforcement sidelines that are not easily separated from horseback); (2) a set waditra consisting of: two drum major (drums ovaries and drums children), a trumpet, two rack tap (bonang), a Bajidor, two gongs (large and small), a set manacle, genjring, and fly or tray; and (3) fashion renggong horse players can be divided into two parts, namely clothing interpreter pengrawit (Wiyaga) and fashion silat players (pengatik). Clothing interpreter pengrawit consists of: long-sleeved uniform shirt blue and white striped, trousers, headgear iket Loher, and slippers. While fashion silat players consists of: pangsi black pants, headgear iket Loher, and red cloth belt.

Horse show Renggong
Renggong horse show begins with words of welcome were made by the committee lavatory. After that, then children who have been circumcised or community leaders who will be paraded renggong welcome to ride horses. Furthermore, the tool companion beating with a rendition of Flower and Kembang Gadung Beureum rhythmic dynamic to mark the beginning of the show.

After the child will be paraded ready, then the leader (the trigger) will start giving cue that the player silat (pengatik) and the horse started doing dance movements simultaneously and concurrently. The dance is usually played by a fighter with horses renggong is the dance "fight" that took place between them, which include: the movement of a horse standing on its hind legs. While the front legs moving like clawed fighter, the movements as if stepping on belly fighter, movement of fighters stepping on the head using the front legs, and the movements of fighters in action around the horse's back. For the record, the movements performed by the horse is not so high because there is a child on her back circumcised or officials who rode.

Meanwhile, the songs played by the Wiyaga to accompany the dance is usually taken from the arts Jaipong, Tap Tilu, and Joged such as: Paris Wado, Rayak-rayak, Bottle Ketchup, drought, Song, Titipatipa, Gondang, Kasreng, Gurudugan, Mapay Roko Kembang gadung, Kangsring, Fruit Kawung, Gondang, Tenggong Petit, Sesenggehan, Badudud, stumps Kawing, Side Butut, Sireum Beureum, Manuk Dadali, Adem Ayem, Leaf Puspa, Solempang Koneng, Reumis Janari, leaves Paul's, and the song interlude (Siyur , Tepang Sono, Durable Rajet, Salira fibers, Honey and Poison, Mr. Wonderful, Goyang Dombret, Warudoyong etc.).

Renggong horse show is done walking around the village or the village, and finally returned to its original place. After that, held the event saweran preceded by a prayer led by an interpreter sawer (expert nyawer) by using offerings such as: rice cone (Congot), roast beef, roast chicken (bakakak), a coconut shell that contains rice one liter, sliced ​​turmeric, and confectionery. And, after the event saweran done by sprinkling the coins and white rice, then the show was over.

Culture value
Art as an expression of the human spirit, of course, contains the aesthetic value, including traditional arts renggong horses were fostered and promoted by society Cikurubuk, Sumedang regency. However, when examined in depth horses renggong contains not only the aesthetic value, but there are other values ​​which in turn can be used as a reference in everyday life for the community supporters. These values ​​include teamwork, teamwork, discipline, perseverance dam. The value of their collaboration visible unity in preserving the cultural heritage of its predecessors. Compactness and order value is reflected in a staging that can run smoothly. The value of hard work and perseverance is reflected in the mastery of dance movements.

RENGKONG

Rengkong (Cianjur Traditional Arts , West Java)

Origin
Cianjur is one of the districts that administratively included in Cianjur regency. Communities mostly Muslim and is generally dependent on farming. In this area, precisely in Kampung Kandangsapi, Cisarandi Village, District Warungkondang there is a traditional art called "Rengkong". The origins of this art stems from transplanting of rice huma (field) to the hut (granary). West Java community at large, including community Warungkondang (Cianjur), in the past --sebelum know planting paddy (irigarasi system) - in general is as cultivators (ngahuma) on the move. Paddy fields that have been harvested must not be left in the fields, but it should be brought home. Given that the distance between the fields and residential areas (home cultivators) relatively far away, we need a tool to bring him, that pole made of bamboo. They call it a "Awi gombong". Pole weighted at approximately 25 kilograms of rice bound with Injuk kawung (rope fibers) if taken will cause sound or noise resulting from friction between the rope fibers and rods pole itself. And, the sound produced resembled the sound of hornbill (a kind of goose). Therefore, when the noise generated from the friction between the rope fibers and pole developed into an art form called "Rengkong".

That said, this Rengkong art Warungkondang known by the public, especially people in Kampung Sukaratu, Village Cisarandi, since the end of the 19th century. Adupan person to introduce or develop them is Said (deceased). In other villages (Sukaratu) was developed by an entrepreneur tile (1920-1967). Thus, the burden of which was originally in the form of rice was replaced with tile. Meanwhile, in the village of Kandangsapi developed by Sukarman since 1967.

Equipment
The equipment needed to realize the arts are referred to as Rengkong this is equipment that produces sound Rengkong itself with various sizes (major and minor). The equipment comprises or is made of a pole, mine fibers, rice, and kerosene. Pole made from a piece of gombong awi (bamboo gombong) thin with a length of 2 or 2.5 meters. One end and the other open (not enclosed by bamboo segments). Then, approximately 30 centimeters from the edges are perforated (resembling rafters) along approximately 38 centimeters. Mine fibers that 2 to 2.5 meters in length serves as a binder of paddy rice to be hung on a bar of Awi gombong which serves as a yoke. Then, rice weighing 20-25 kilograms as the load carrying pole. Moreover feared yoke will be broken. And, kerosene serves as pengesat friction between the rope and a pole, so that the friction produces a loud sound. Other equipment is dodog and angkung beans.

Players and Clothing
Rengkong overall number of players there are 14 people with the details: 2 as the carrier Rengkong great; 3 as small Rengkong carrier; 4 as a player dodog, namely dodog: tingrit, tongsong, brung-brung, and gedeblag; and angklung player beans consisting of 5 persons. Meanwhile, clothing or clothing which is worn the traditional clothing in the form: shucks or pangsi, headband and gloves.

Staging
Art Rengkong in Warungkondang is usually only performed in order to enliven the days of religious or national (August 17) in the form of a procession. In a staging Rengkong players usually numbering five people were in the front row. Then, followed by the players and the players angklung beans dodog. However, sometimes staging packaged collectively. That is, the players may move anywhere (mixed together).

Function
When Rengkong yet developed into a kind of art, it merely serves as a diversion from the man who was carrying a load (rice) to be hand carried. In this case the friction between the yoke and pole straps used as rhythm accompaniment, so that the burden is relatively heavy is not so perceived because because it was accompanied by the sounds typical. And, when Rengkong become a kind of art is not much different function, namely as entertainment.

For the record, referred to as Rengkong art is not only in the area Cianjunr alone, but also in Sukabumi and Banten. The difference, in both areas Rengkong not only serve as entertainment, but there are other functions that lie behind them, which is an expression of gratitude to the goddess of rice that has been providing welfare in the form of a bountiful harvest. Therefore, Rengkong always displayed and activities or ceremonies to rice storage barns.

Culture value
Art is the expression of the human spirit embodied in the beauty. Therefore, any art including art Rengkong are supported with simple equipment, containing aesthetic value (beauty). However, if carefully reviewed the arts are referred to as this Rengkong contains not only aesthetic value, but there are other values ​​which in turn can be used as a reference in everyday life. These values ​​include hard work and cooperation. The value of hard work is reflected in the distinctive voice rang resulting from friction between the rope fibers and yoke. This means that the rice with a specific weight bear. And, this would require hard work. Then, the value of cooperation reflected in the staging. In this without good cooperation impossible staging can run well and smoothly. In fact, there are other values ​​(religious) as shown by the community of Sukabumi and Banten.

Ritual Of Tiwah (Central Borneo)

RITUAL  OF TIWAH

Ritual Tiwah is the procession of ancestral spirits delivering relatives who have passed on to the afterlife with a way to purify and remove the remains from the grave to a place called stumbling. Ritual Tiwah Attraction serve as unique and typical of many foreign tourists interested in these ceremonies are only done by Dayak Kalimantan. Tiwah a ritual death rate for the end of the Dayak community in Kalimantan Tengah (Central Borneo), especially the Dayak Outback Kaharingan religions as religion Dayak ancestors. Tiwah ceremony is a ceremony that is usually held over the death of someone who has died and buried for so long until the remains of the body were expected to live only crumbs. Ritual Tiwah intended as a ritual to straighten trip off spirit concerned towards Lewu Tatau (Heaven - in English Sangiang) so they can live peacefully and peaceful in nature the Power. Additionally, Tiwah Dayak Kalimantan is also intended by the people in Central Kalimantan as the Dayak tribe procession to remove Rutas or bad luck for the family of the deceased who left bad influences affecting.

For Dayak, a process needs to be continued with the ritual death advanced (improvement) in order not to interfere with the comfort and tranquility of people who are still alive. Furthermore, Tiwah also berujuan to untie a widow or widower for married couples. Post Tiwah, customarily they be allowed to determine the next life partner or still choose not to marry again.

Tiwah ceremony is not an easy job. Required long and complicated preparation and funding not less. Additionally, this series tiwah procession itself takes up to several days nonstop, even up to one month old.  Before the ceremony Tiwah implemented, first held another ritual called tantulak ceremony. According Kaharingan Religious belief, after death, the deceased had not been able to directly enter into heaven. Then digelarlah tantulak ceremony to escort the spirits of those who died, to the Mount Malian, and there wait dispatched to meet with Ranying Hattala Heaven, God's people Kaharingan, until the surviving family held a ceremony Tiwah. "It could also be said that Malian Hill is a natural womb, sacred place people lived before being born into the world. In nature the ones who died waiting before departure to heaven through Tiwah ceremony, "explained the religious leaders of the city of Palangkaraya Kaharingan this.

The highlight of this tiwah itself will enter the bones were excavated from the tomb and they purified through a special ritual into a stumble. However, the previous first event held penombakan sacrificial animals, buffalo, cows, and pigs.