Jumat

Primbon Kakang Kawah Adhi Ari-ari

Antarane Sedulur sanga sing mbarengi lahire jabang bayi, Kakang kawah lan Adhi Ari-Ari niku sing paling dikenal. sedulur loro Iki kang tansah dipun sebut menawi nyuwunaken sawab pandonga kangge janang bayi niku, malah nganti tekan gede, nikah lan dadi wong tua. Kakang kawah. Diarani Kakang amarga lahir lewih ndisit sedurunge jabang bayi lair. Kawah inggih punika banyu kawah. Ingkang wujude banyu, sing gunane kanggo nelesi dalan bayi kareben lunyu ora seret, supados bayi sing bakal metu bisa liwat dalan lahire kanti saged lancar, lan bayi kulit isih alus iki ora tatu mangkono. Amarga saka sawijining peran kanggo nyiyapake lan mbukak dalan kanggo lair, mulane banyu kawah utawa kakang kawah niku diontenaken kawontenane lan dianggep minangka Sedulur sepuh si jabang bayi, minangka sebutan Kakang kawah. Ing alam urpi seteruse, Kakang Kawah diselehake minangka pengejawantahan saka Gusti Allah  sing bisa disambat-sebuti utawa dijaluki pitulungan kanggo ngrewangi ngrampungi masalah - masalah Penguripan.
Kakang kawah lan Adhi Ari-Ari njaga jabang bayi kawit wujude tesih calon bayi nganti pungkasan urip (kivandanu).

Pada saat proses kelahiran berlangsung, si ibu yang melahirkan membutuhkan kain jarit untuk dipakai sebagai alas untuk menampung air dan darah yang keluar dari vagina si ibu. Kain jarit tersebut dinamakan kopohan, arti kata kopoh atau basah.

Setelah selesai proses kelahiran, kain Kopohan ini dicuci, yang mencuci diberi upah uang lalu disimpan, tidak boleh dipakai harian, kecuali jika si bayi sedang sakit, kain Kopohan tersebut dapat di selimutkan si bayi. Atau dipakai besuk kalau si ibu mempunyai anak lagi.

Adhi Ari-Ari. disebut Adhi karena lahirnya menyusul setelah jabang bayi. Ari-ari adalah gumpalan daging lunak, yang sebelumya menjadi tempat jabang bayi.tumbuh dari janin hingga menjadi bayi. Ketika tiba saatnya kelahiran, bayi tersebut lahir keluar diikutti oleh Ari-ari. Antara Bayi dan Ari-ari digandengkan oleh tali pusar. Jika proses kelahirannya di rumah dan ditangani oleh Dukun Bayi atau semacam bidan tradisional, tali pusar tersebut dipotong dengan menggunakan welat, yaitu kulit bambu hitam dan dilandasi dengan kunyit.

Setelah pemotongan tali pusar, ari-ari tersebut dirumat, diopeni, dirawat khusus, ditempatkan dalam kendhil baru dari tanah liat yang di beri alas daun senthe. Setelah ari-ari dimasukan, di atasnya diberi: kembang boreh, minyak wangi, kunir bekas untuk alas memotong tali pusar, welat alat pemotong tali pusar, tulisan Jawa, Arab, Latin, uang sagobang, garam, jarum, jahit, benang, gereh, pethek, gantal, dan kemiri. Barang-barang tersebut setelah dimasukkan ke dalam kendhil dan kemudian ditutup rapat dengan cowek tanah liat, lalu dibungkus kain mori putih.

Pada umumnya ari-ari tersebut di tanam di tanah pada pintu utama rumah sebelah kanan. Sebaiknya yang melakukan adalah bapaknya si bayi dengan pakaian Jawa lengkap dengan memakai keris.

Ada ari ari yang tidak ditanam, tetapi dilabuh di sungai. Ada lagi yang digantungkan di pojok rumah sebelah luar. Setelah sibayi besar, Ari-ari yang digantung tersebut dilabuh di sungai oleh sibayi yang sudah menjadi besar.

Oleh karena perannya yang pokok, mulai dari pertumbuhan janin hingga menjadi bentuk bayi secara utuh, Ari-ari tersebut dianggap sebagai saudara muda dari si bayi dengan sebutan Adhi Ari-ari. Seperti juga Kakang Kawah, Adhi Ari-ari ini dalam kehidupan jabang bayi selanjutnya, didudukan sebagai kepanjangan Tangan Tuhan yang dapat disambat-sebuti atau dimintai pertolongan untuk membantu memecahkan persoalan-persoalan kehidupan.

Pada peringatan weton atau hari dan pasaran kelahiran si bayi, yang terjadi setiap 35 hari atau selapan, si jabang bayi dibuatkan jenang among-among. Jenang among-among tersebut dimaksudkan sebagai ucapan syukur atas keselamatan si bayi dan untuk ngemong-mongi atau memelihara dan menjaga si jabang bayi selanjutnya. Yang disambat-sebuti adalah Tuhan, namun dikarenakan Kakang Kawah dan Adhi Ari-ari adalah kepanjangan tangan-Nya maka Kakang Kawah dan Adhi Ari-ari berada dalam wilayah karya penjagaan Tuhan terhadap si bayi. Bahkan sebagai saudara hubungan antara si bayi dengan Kakang Kawah serta Adhi Ari-ari lebih akrab, seperti permohonan yang diucapkan pada saat membuat jenang among-among :


“Kakang Kawah Adhi Ari-ari,
jaganen aku sadina sawengi,
supaya slamet tumeka awakku,
sluman-slumun slamet
tan kena bebaya saka kersaning Allah”

Kakang Kawah dan adhi ari-ari ini dalam ilmu kasepuhan bisa didaya gunakan dalam membantu permasalahan hidup,karena mereka ada dalam diri kita masing-masing maka jika saudaranya meminta bantuan tentunya mereka akan membantu apa yang menjadi keinginan saudaranya. Ada pula yang menyebut Qorin/Khodam Pendamping/Perewangan Urip/dsb,namun yang perlu diketahui Kakang Kawah Adhi Ari-ari adalah saudara/pendamping ghaib anugerah Ilahi yang sudah diberikan pada kita guna mendampingi, menjaga, melantari permohonan / permintaan kita pada Sang Hyang Maha Kuasa agar segera terwujud. Dengan Kunci Ilmu tertentu saudara ghaib ini bisa mampu membantu menyelesaikan permasalahan hidup baik urusan jodoh, rezeki, cinta asmara, keselamatan, bahkan sampai urusan kekayaan/membantu melunasi hutang yang menumpuk agar terselesaikan.

Jarang seseorang dijazaman modern ini mengetahui/memiliki keilmuan dalam membangkitkan potensi saudara ghaib anugerah Allah SWT tersebut. Bahkan Paranormal belumlah lengkap/sempurna ilmunya jika belum menguasai ilmu Kakang Kawah Adhi ari-ari.Salah satunya diantara tempat /perguruan yang terpercaya dalam Pengijazahan Kunci Ilmu Kakang Kawah Adhi Ari-ari adalah susuhangin yang dikhususkan pengijazahannya untuk urusan rezeki yakni meraih Pesugihan Putih dengan perantaraan saudara ghaib “Kakang Kawah adhi Ari-ari” untuk mendongkrak kesuksesan,kemakmuran,terbebas dari masalah keuangan,dsb.Sebenarnya Program tersebut bukan hanya untuk masalah rezeki aja bila urusan tersebut terselesaikan maka potensi itu bisa ditingkatkan untuk perlindungan ghaib, pemagaran ghaib, pelet pengasihan, dll.

 http://sekawan-kumpulan-goib.blogspot.com/2012/08/primbon-kakang-kawah-adhi-ari-ari.html

Bisma Gugur Ki Sugino Siswocarito

Menika pasugatan ringgitan Banyumasan saking Ki Sugino Siswocarito ingkang ngangge “thema” Baratayuda Jayabinangun seri kalih. Sepindhah malih, menawi wonten jagading ringgit, Perang Baratayuda menika kalebet perang ageng ingkang kaping sekawan. Lampahan Baratayuda mBanyumasan versi Ki Sugino menika, menawi kagatekaken, radi caket kaliyan alur lampahan saking gagrak Ngayogyakarta, nanging iringan gendinginpun caket kalian gagrak Surakarta

Silih Ungkih ganti kalindhih, rebut unggul tandhing tyasa Resi Bisma lan Resi Seta. Kekalih resi menika sampun dados satru bebuyutan saking mudhanipun. Ing perang Baratayuda Jayabinangun, tuntas kekajenganipun kangge mbuktekakan sinten ingkang unggul sejatosipun (gambar koleksi Mas Agus “Mahesa Jenar” Wiyarto) 

Wonten lampahan Bisma Gugur, Baratayuda Jayabinangun dipun wiwiti. Lah miturut Baratayuda versi gelaranipun Ki Nartasabdo, perang antawisipun Resi Bisma anggenipun majeng wonten rananggana ngantos sirnanipun Resi Seta kalajengaken kaliyan Guguripun Resi Bisma piyambak dening Prajurit Wanita, Wara Srikandi, dangunipun ngantos kawanwelas dinten. Paling lami miturut cariyosipun. 

Kathahipun para paraga ingkang angemasi wonten ing lampahan menika ugi kathah, kados ta; Raden Untara, Wratsangka lan Resi Seta, ingkang tiga tiganipun menika putra saking Wiratha. Tiga tiganipun dados tawur saking bela kasaenan, nalika Pendhawa ingkang kabucal Kurawa 12 tahun lan kedah namur kawula setahun tanpa kadenangan. Para Pandhawa saged bela Negari Wiratha ngantos Negara Ngastina ingkang dipun ombyongi Prabu Susarman saking Trikarta ingkang anggadahi trekah anjajah negari Wiratha, saged kendhang kapracondhang saking paprangan. Kethiripun wadya Ngastina awit dening pangamukipun Jagal Abilawa sesinglonipun Raden Werkudara, lan Kandhiwrahatnala sesinglonipun Raden Arjuna. Kejawi menika sakderengipun perang dipun wiwiti, wonten pejahipun Bambang Irawan. 

Menawi panjenengan ngundhuh ugi gending talu wonten file 1A, pilihan gendhing sampun “beraroma maut”. Cobi panjenengan gatekaken, senajan wonten sisipan gendhing dolanan Menhok-menthok lan Kupu kuwi, nanging tetep aroma menika taksih kenthel kaganda. Sampun dipun tilar file menika nggih. 

Sedanipun keng rama lan ibunipun Prabu Duryudana, Prabu Drestarastra lan Dewi Gendari wonten ing kedosan Kresna Dhuta, andadosaken jalaran wiwitaning Baratayuda Jayabinangun menika. Gereng-gereng, ambekuh Prabu Duryudana, awit kraos getun lan sedhih tinilar dening tiyang asepuhipun. Anuli Resi Bisma neter kesagahan lan siaganing golonganing Kurawa mengsah lan Para Kadang Pandhawa.. Ing kalenggan menika parampara Ngastina sami jumurung ing kersa dados sesawat balang lan sesawur, murih jayaning Para Kurawa. Lega rasaning manah Prabu Duryudana salajengipun, dene para paranparaning praja misuda Resi Bisma dados senapati ingkang kapisanan. 

Nanging ing mangke Resi Bisma maringi tetenger menawa Perang Baratayuda menika satunggaling papan sauring utang lan potang. Kaping kalihipun Resi Bisma paring katrangan menawi kasagahanipun majeng dados senapati menika namung kinarya pasanggiri. Liripun, lamun piyambakipun ungguling jurit Kurawa bakal mukti. Nanging menawa kasor tebihipun kapupuh ing adilaga, para Kurawa kedah seleh gegaman mungkasi prang lan soroh negari Ngastina lan Negara Amarta sawetahipun.

Kados pundi gancaring lampahan Bisma Gugur, magga panjenengan kersa ngunduh folder BISMA GUGUR menika, ingkang kabagi alit nembelas file agengipun watawis 29Mb. 
Halaman download: https://www.mediafire.com/?h6cnkhfrl5idm 

Link download : 
1. http://www.mediafire.com/listen/o28mbc6o5t9gzwa/Bisma_Gugur_1A_KSSC.mp3
2. http://www.mediafire.com/listen/5ed5iaie6bhifc6/Bisma_Gugur_1B_KSSC.mp3 
3. http://www.mediafire.com/listen/iuy43z6gdt63843/Bisma_Gugur_2A_KSSC.mp3 
4. http://www.mediafire.com/listen/0t0o60bs8q6jp01/Bisma_Gugur_2B_KSSC.mp3 
5. http://www.mediafire.com/listen/ot13ax6cv1j65rr/Bisma_Gugur_3A_KSSC.mp3 
6. http://www.mediafire.com/listen/g8gknfgw3a63o2p/Bisma_Gugur_3B_KSSC.mp3 
7. http://www.mediafire.com/listen/q2cedgx6vegah1i/Bisma_Gugur_4A_KSSC.mp3 
8. http://www.mediafire.com/listen/jcgs5oqwy3piz04/Bisma_Gugur_4B_KSSC.mp3 
9. http://www.mediafire.com/listen/aq99fpqt5af1b7j/Bisma_Gugur_5A_KSSC.mp3 
10. http://www.mediafire.com/listen/j07a0mnbsx71eqx/Bisma_Gugur_5B_KSSC.mp3 
11. http://www.mediafire.com/listen/j07a0mnbsx71eqx/Bisma_Gugur_5B_KSSC.mp3 
12. http://www.mediafire.com/listen/m7e2ni80po089fi/Bisma_Gugur_6B_KSSC.mp3 
13. http://www.mediafire.com/listen/t4r2fz5y4gq6mbp/Bisma_Gugur_7A_KSSC.mp3 
14. http://www.mediafire.com/listen/budg2xnve8u8qkc/Bisma_Gugur_7B_KSSC.mp3 
15. http://www.mediafire.com/listen/67djt469dv70o4t/Bisma_Gugur_8A_KSSC.mp3 
16. http://www.mediafire.com/listen/9cy07ad1c0d5p46/Bisma_Gugur_8B_KSSC.mp3 

link sumber berita: http://maspatikrajadewaku.wordpress.com/2012/04/02/bisma-gugur-ki-sugino-siswocarito/ 

AJARAN SYEH SITI JENAR dan KEJAWEN

Dalam Memandang Ketuhanan, Dosa/Neraka, Pahala/Surga)

PERBANDINGAN ANTARA AJARAN SYEH SITI JENAR Dan PANDANGAN KEJAWEN

Mengenai Ketuhanan, Alam, dan Manusia



Syeh Siti Jenar (Lemah Abang) dalam Mengenal Tuhan



  Ajaran Siti Jenar memahami Tuhan sebagai ruh yang tertinggi, ruh
maulana yang utama, yang mulia yang sakti, yang suci tanpa kekurangan.
Itulah Hyang Widhi, ruh maulana yang tinggi dan suci menjelma menjadi
diri manusia.



  Hyang Widhi itu di mana-mana, tidak di langit, tidak di bumi, tidak
di utara atau selatan. Manusia tidak akan menemukan biarpun keliling
dunia. Ruh maulana ada dalam diri manusia karena ruh manusia sebagai
penjelmaan ruh maulana, sebagaimana dirinya yang sama-sama menggunakan
hidup ini dengan indera, jasad yang akan kembali pada asalnya, busuk,
kotor, hancur, tanah. Jika manusia itu mati ruhnya kembali bersatu ke
asalnya, yaitu ruh maulana yang bebas dari segala penderitaan. Lebih
lanjut Siti Jenar mengungkapkan sifat-sifat hakikat ruh manusia adalah
ruh diri manusia yang tidak berubah, tidak berawal, tidak berakhir,
tidak bermula, ruh tidak lupa dan tidak tidur, yang tidak terikat
dengan rangsangan indera yang meliputi jasad manusia.



  Syeh Siti Jenar mengaku bahwa, “aku adalah Allah, Allah adalah
aku”. Lihatlah, Allah ada dalam diriku, aku ada dalam diri Allah.
Pengakuan Siti Jenar bukan bermaksud mengaku-aku dirinya sebagai Tuhan
Allah Sang Pencipta ajali abadi, melainkan kesadarannya tetap teguh
sebagai makhluk yang diciptakan Tuhan. Siti Jenar merasa bahwa dirinya
bersatu dengan “ruh” Tuhan. Memang ada persamaan antara ruh manusia
dengan “ruh” Tuhan atau Zat. Keduanya bersatu di dalam diri manusia.
Persatuan antara ruh Tuhan dengan ruh manusia terbatas pada persatuan
manusia denganNya. Persatuannya merupakan persatuan Zat sifat, ruh
bersatu dengan Zat sifat Tuhan dalam gelombang energi dan frekuensi
yang sama. Inilah prinsip kemanunggalan dalam ajaran tentang
manunggaling kawula Gusti atau jumbuhing kawula Gusti. Bersatunya dua
menjadi satu, atau dwi tunggal. Diumpamakan wiji wonten salebeting wit.



Pandangan Syeh Lemah Abang Tentang Manusia



  Dalam memandang hakikat manusia Siti Jenar membedakan antara jiwa
dan akal. Jiwa merupakan suara hati nurani manusia yang merupakan
ungkapan dari zat Tuhan, maka hati nurani harus ditaati dan dituruti
perintahnya. Jiwa merupakan kehendak Tuhan, juga merupakan penjelmaan
dari Hyang Widdhi (Tuhan) di dalam jiwa, sehingga raga dianggap sebagai
wajah Hyang Widdhi. Jiwa yang berasal dari Tuhan itu mempunyai sifat
zat Tuhan yakni kekal, sesudah manusia raganya mati maka lepaslah jiwa
dari belenggu raganya. Demikian pula akal merupakan kehendak, tetapi
angan-angan dan ingatan yang kebenarannya tidak sepenuhnya dapat
dipercaya, karena selalu berubah-ubah.



  Menurut sabdalangit, perbedaan karakter jiwa dan akal yang bertolak
belakang dalam pandangan Siti Jenar, disebabkan oleh adanya garis
demarkasi yang menjadi pemisah antara sifat hakikat jiwa dan akal-budi.
Jiwa terletak di luar nafsu, sementara akal-budi letaknya berada di
dalam nafsu. Mengenai perbedaan jiwa dan akal, dalam wirayat Saloka
Jati diungkapkan bahwa akal-budi umpama kodhok kinemulan ing leng atau
wit jroning wiji (pohon ada di dalam biji). Sedangkan jiwa umpama
kodhok angemuli ing leng atau wiji jroning wit (biji ada di dalam
pohon).



  Bagi Syeh Siti Jenar, proses timbulnya pengetahuan datang secara
bersamaan dengan munculnya kesadaran subyek terhadap obyek. Maka
pengetahuan mengenai kebenaran Tuhan akan diperoleh seseorang bersama
dengan penyadaran diri orang itu. Jika ingin mengetahui Tuhanmu,
ketahuilah (terlebih dahulu) dirimu sendiri. Syeh Lemah bang percaya
bahwa kebenaran yang diperoleh dari hal-hal di atas ilmu pengetahuan,
mengenai wahyu dan Tuhan bersifat intuitif. Kemampuan intuitif ini ada
bersamaan dengan munculnya kesadaran dalam diri seseorang.



Pandangan Syeh Lemah Bang Tentang Kehidupan Dunia



  Pandangan Syeh Jenar tentang dunia adalah bahwa hidup di dunia ini
sesungguhnya adalah mati. Dikatakan demikian karena hidup di dunia ini
ada surga dan neraka yang tidak bisa ditolak oleh manusia. Manusia yang
mendapatkan surga mereka akan mendapatkan kebahagiaan, ketenangan,
kesenangan. Sebaliknya rasa bingung, kalut, muak, risih, menderita itu
termasuk neraka. Jika manusia hidup mulia, sehat, cukup pangan,
sandang, papan maka ia dalam surga. Tetapi kesenangan atau surga di
dunia ini bersifat sementara atau sekejap saja, karena betapapun juga
manusia dan sarana kehidupannya pasti akan menemui kehancuran.



  Syeh Jenar mengumpamakan bahwa manusia hidup ini sesungguhnya mayat
yang gentayangan untuk mencari pangan pakaian dan papan serta mengejar
kekayaan yang dapat menyenangkan jasmani. Manusia bergembira atas apa
yang ia raih, yang memuaskan dan menyenangkan jiwanya, padahal ia tidak
sadar bahwa semua kesenangan itu akan binasa. Namun begitu manusia
suka sombong dan bangga atas kepemilikan kekayaan, tetapi tidak
menyadari bahwa dirinya adalah bangkai. Manusia justru merasa dirinya
mulia dan bahagia, karena manusia tidak menyadari bahwa harta bendanya
merupakan penggoda manusia yang menyebabkan keterikatannya pada dunia.



  Jika manusia tidak menyadari itu semua, hidup ini sesungguhnya
derita. Pandangan seperti itu menjadikan sikap dan pandangan Siti
Jenar menjadi ekstrim dalam memandang kehidupan dunia. Hidup di dunia
ini adalah mati, tempat baik dan buruk, sakit dan sehat, mujur dan
celaka, bahagia dan sempurna, surga dan neraka, semua bercampur aduk
menjadi satu. Dengan adanya peraturan maka manusia menjadi terbebani
sejak lahir hingga mati. Maka Syeh Siti Jenar sangat menekankan pada
upaya manusia untuk hidup yang abadi agar tahan mengalami hidup di
dunia ini. Siti Jenar kemudian mengajarkan bagaimana mencari kamoksan
(mukswa/mosca) yakni mati sempurna beserta raganya lenyap masuk ke
dalam ruh (warongko manjing curigo). Hidup ini mati, karena mati itu
hidup yang sesungguhnya karena manusia bebas dari segala beban dan
derita. Karena hidup sesudah kematian adalah hidup yang sejati, dan
abadi.





Syeh Siti Jenar Mengkritik Ulama dan Para Santrinya



  Alasan yang mendasari mengapa Syeh Siti Jenar mengkritik
habis-habisan para ulama dan santrinya karena dalam kacamata Syeh Siti,
mereka hanya berkutat pada amalan syariat (sembah raga). Padahal masih
banyak tugas manusia yang lebih utama harus dilakukan untuk mencapai
tataran kemuliaan yang sejati. Dogma-dogma, dan ketakutan neraka serta
bujuk rayu surga justru membelenggu raga, akal budi, dan jiwa manusia.
Maka manusia menjadi terkungkung rutinitas lalu lupa akan tugas-tugas
beratnya. Manusia demikian menjadi gagal dalam upaya menemukan Tuhannya.






Kritik Syeh Lemah Bang Atas Konsep Surga-Neraka



  Konsep surga-neraka dalam ajaran Siti Jenar berbeda sekali dengan
apa yang diajarkan oleh para ulama. Menurut Syeh Siti Jenar, surga dan
neraka adalah dalam hidup ini. Sementara para ulama mengajarkan surga
dan neraka merupakan balasan yang diberikan kepada manusia atas amalnya
yang bakal diterima kelak sesudah kematian (akherat).



  Menurut Syeh Siti, orang mukmin telah keliru karena mengerjakan
shalat jungkir balik, mengharap-harap surga, sedang surga sesudah
kematian itu tidak ada, shalat itu tidak perlu dan orang tidak perlu
mengajak orang lain untuk shalat. Shalat minta apa, minta rizki ? Tuhan
toh tidak memberi lantaran shalat.



  Santri yang menjual ilmu dengan siapa pun mau menyembah Tuhan di
masjid, di dalamnya terdapat Tuhan yang bohong. Para ulama telah
menyesatkan manusia dengan menipu mereka jungkir balik lima kali, pagi,
siang, sore, malam hanya untuk memohon-mohon imbalan surga kelak.
Sehingga orang banyak tergiur oleh omongan palsunya, dan orang menjadi
gelisah tak enak ketika terlambat mengerjakan shalat. Orang seperti itu
sungguh bodoh dan tak tau diri, jikalau pun seseorang menyadari bahwa
shalat itu dilakukan karena merupakan kebutuhan diri manusia sendiri
untuk menyembah Tuhannya, manusia ternyata tidak menyadari
keserakahannya; dengan minta-minta imbalan/hadiah surga. Orang-orang
telah terbius oleh para ulama, sehingga mereka suka berzikir, dan
disibukkan oleh kegiatan menghitung-hitung pahalanya tiap hari.
Sebaliknya, lupa bahwa sejatinya kebaikan itu harus diimplementasikan
kepada sesama (habluminannas).



  Lebih lanjut Syekh Siti Jenar menuduh para ulama dan murid mereka
sebagai orang dungu dan dangkal ilmu, karena menafsirkan surga sebagai
balasan yang nanti diterima di akhirat. Penafsiran demikian adalah
penafsiran yang sangat sempit. Hidup para ulama adalah hidup asal
hidup, tidak mengerti hakekat, tetapi jika disuruh mati mereka menolak
mentah-mentah. Surga dan neraka letaknya pada manusia masing-masing.
Orang bergelimang harta, hidupnya merasa selalu terancam oleh para
pesaing bisnisnya, tidur tak nyeyak, makan tak enak, jalan pun gelisah,
itulah neraka. Sebaliknya, seorang petani di lereng gunung terpencil,
hasil bercocok tanam cukup untuk makan sekeluarga, menempati rumah
kecil yang tenang, tiap sore dapat duduk bersantai di halaman rumah
sambil memandang hamparan sawah hijau menghampar, hatinya sesejuk
udaranya, tenang jiwanya, itulah surga. Kehidupan ini telah memberi
manusia mana surga mana neraka.



  Syeh Siti Jenar memandang alam semesta sebagai makrokosmos dan
mikrokosmos (manusia) sekurangnya kedua hal ini merupakan barang baru
ciptaan Tuhan yang sama-sama akan mengalami kerusakan, tidak kekal dan
tidak abadi. Manusia terdiri atas jiwa dan raga yang intinya ialah
jiwa sebagai penjelmaan zat Tuhan.



  Sedangkan raga adalah bentuk luar dari jiwa yang dilengkapi
pancaindera, sebagai organ tubuh seperti daging, otot, darah, dan
tulang. Semua aspek keragaan atau ketubuhan adalah barang pinjaman yang
suatu saat, setelah manusia terlepas dari kematian di dunia ini, akan
kembali berubah asalnya yaitu unsur bumi (tanah).



Syeh Lemah Bang, mengatakan bahwa;

     “Bukan kehendak angan-angan, bukan ingatan, pikiran atau niat, hawa
nafsu pun bukan, bukan pula kekosongan atau kehampaan. Penampilanku
sebagai mayat baru, andai menjadi gusti jasadku dapat busuk bercampur
debu, nafasku terhembus di segala penjuru dunia, tanah, api, air,
kembali sebagai asalnya, yaitu kembali menjadi baru. Bumi langit dan
sebagainya adalah kepunyaan seluruh manusia, manusialah yang memberi
nama”.



 Kesimpulan



  Pandangan Syeh Lemah Bang; tentang terlepasnya manusia dari
belenggu alam kematian yakni hidup di alam dunia ini, berawal dari
konsepnya tentang ketuhanan, manusia dan alam. Manusia adalah jelmaan
zat Tuhan. Hubungan jiwa dari Tuhan dan raga, berakhir sesudah manusia
menemui ajal atau kematian duniawi. Sesudah itu manusia bisa manunggal
dengan Tuhan dalam keabadian. Pada saat itu semua bentuk badan wadag
(jasad) atau kebutuhan jasmanisah ditinggal karena jasad merupakan
barang baru (hawadist) yang dikenai kerusakan dan semacam barang
pinjaman yang harus dikembalikan kepada yang punya yaitu Tuhan sendiri.



  Terlepas dari ajaran Siti Jenar yang sangat ekstrim memandang dunia
sebagai bentuk penderitaan total yang harus segera ditinggalkan
rupanya terinspirasi oleh ajaran seorang sufi dari Bagdad, Hussein Ibnu
Al Hallaj, yang menolak segala kehidupan dunia. Hal ini berbeda dengan
konsep Islam secara umum yang memadang hidup di dunia sebagai khalifah
Tuhan.





Pandangan Kejawen Tentang Kehidupan di Dunia



Pandangan Kejawen tentang makna hidup manusia dunia ditampilkan secara
rinci, realistis, logis dan mengena di dalam hati nurani; bahwa hidup
ini diumpamakan hanya sekedar mampir ngombe, mampir minum, hidup dalam
waktu sekejab, dibanding kelak hidup di alam keabadian setelah raga ini
mati. Tetapi tugas manusia sungguh berat, karena jasad adalah pinjaman
Tuhan. Tuhan meminjamkan raga kepada ruh, tetapi ruh harus
mempertanggungjawabkan “barang” pinjamannya itu. Pada awalnya Tuhan Yang
Mahasuci meminjamkan jasad kepada ruh dalam keadaan suci, apabila
waktu “kontrak” peminjaman sudah habis, maka ruh diminta
tanggungjawabnya, ruh harus mengembalikan jasad pinjamannya dalam
keadaan yang suci seperti semula. Ruh dengan jasadnya diijinkan Tuhan
“turun” ke bumi, tetapi dibebani tugas yakni menjaga barang pinjaman
tersebut agar dalam kondisi baik dan suci setelah kembali kepada
pemiliknya, yakni Gusti Ingkang Akaryo Jagad. Ruh dan jasad menyatu
dalam wujud yang dinamakan manusia. Tempat untuk mengekspresikan dan
mengartikulasikan diri manusia adalah tempat pinjaman Tuhan juga yang
dinamakan bumi berikut segala macam isinya; atau mercapada. Karena bumi
bersifat “pinjaman” Tuhan, maka bumi juga bersifat tidak kekal.



Betapa Maha Pemurahnya Tuhan itu, bersedia meminjamkan jasad, berikut
tempat tinggal dan segala isinya menjadi fasilitas manusia boleh
digunakan secara gratis. Tuhan hanya menuntut tanggungjawab manusia
saja, agar supaya menjaga semua barang pinjaman Tuhan tersebut, serta
manusia diperbolehkan memanfaatkan semua fasilitas yang Tuhan sediakan
dengan cara tidak merusak barang pinjaman dan semua fasilitasnya.



Itulah tanggungjawab manusia yang sesungguhnya hidup di dunia ini;
yakni menjaga barang “titipan” atau “pinjaman”, serta boleh
memanfaatkan semua fasilitas yang disediakan Tuhan untuk manusia dengan
tanpa merusak, dan tentu saja menjaganya agar tetap utuh, tidak rusak,
dan kembali seperti semula dalam keadaan suci. Itulah “perjanjian”
gaib antara Tuhan dengan manusia makhlukNya. Untuk menjaga klausul
perjanjian tetap dapat terlaksana, maka Tuhan membuat rumus atau
“aturan-main“ yang harus dilaksanakan oleh pihak peminjam yakni
manusia. Rumus Tuhan ini yang disebut pula sebagai kodrat Tuhan;
berbentuk hukum sebab-akibat. Pengingkaran atas isi atau “klausul
kontrak” tersebut berupa akibat sebagai konsekuensi logisnya. Misalnya;
keburukan akan berbuah keburukan, kebaikan akan berbuah kebaikan pula.
Barang siapa menanam, maka mengetam. Perbuatan suka memudahkan akan
berbuah sering dimudahkan. Suka mempersulit akan berbuah sering
dipersulit. 

Rabu

12 Falsafah Jawa untuk Membangun Kedamaian dlm Hidup

1. URIP IKU URUP
[Hidup itu nyala, hidup itu hendaknya memberi manfaat bagi orang lain di sekitar kita]

2. MEMAYU HAYUNING BAWONO, AMBRASTA DUR HANGKORO
[Harus mengusahakan keselamatan, kebahagiaan dan kesejahteraan serta memberantas sifat angkara murka, serakah dan tamak]

3. SURA DIRA JOYONINGRAT, LEBUR DENING PANGASTUTI
[Segala sifat keras hati, picik, angkara murka hanya bisa dikalahkan dengan sikap bijak, lembut hati dan sabar]

4. NGLURUK TANPO BOLO, MENANG TANPA NGASORAKE, SEKTI TANPA AJI-AJI, SUGIH TANPA BONDHO
[Berjuang tanpa perlu membawa massa, Menang tanpa merendahkan / mempermalukan, Berwibawa tanpa mengandalkan kekuasaan/kekuatan/kekayaan/ keturunan, Kaya tanpa didasari hal2 yg bersifat materi]

5. DATAN SERIK LAMUN KETAMAN, DATAN SUSAH LAMUN KELANGAN
[Jangan gampang sakit hati manakala musibah menimpa diri, Jangan sedih/susah manakala kehilangan sesuatu]

6. OJO GUMUNAN, OJO GETUNAN, OJO KAGETAN, OJO ALEMAN LAN OJO GELEMAN
[Jangan mudah terheran-heran, Jangan mudah menyesal, Jangan mudah terkejut dgn sesuatu, Jangan kolokan atau manja dan Jangan Mau yang Bukan Haknya ]

7. OJO KETUNGKUL MARANG KALUNGGUHAN, KADONYAN LAN KEMAREMAN
[Janganlah terobsesi atau terkungkung dengan kedudukan, materi dan kepuasan duniawi]

8. OJO KUMINTER MUNDAK KEBLINGER, AJA CIDRA MUNDAK CILAKA
[Jangan merasa paling pandai agar tidak salah arah, Jangan suka berbuat curang agar tidak celaka]

9. OJO MILIK BARANG KANG MELOK, AJA MANGRO MUNDAK KENDHO
[Jangan tergiur oleh hal2 yg tampak mewah, cantik, indah dan jangan berfikir gamang/plin-plan agar tidak kendor niat dan kendor semangat]

10. OJO ADIGANG, ADIGUNG, ADIGUNO
[Jangan sok kuasa, sok besar/kaya, sok sakti / Pintar ].

11. ALANG ALANG DUDU ALING ALING , MARGINING KAUTAMAN.
[Persoalan persoalan dlm kehidupan bukan penghambat, jalannya kesempurnaan].

12. SOPO WERUH ING PANUJU sasat SUGIH PAGER WESI.
[Dalam kehidupan siapa yg punya Cita2 luhur, jalannya seakan tertuntun ]
kivandanu.

Sabtu

Javanese Gamelan Glossary at the National Music Museum



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Glossary of Terms Relating to the
Kyai Rengga Manis Everist Gamelan

The USD Gamelan Ensemble rehearses with a selection of slendro instruments from the gamelan, Kyai Rengga Manis Everist, by Ud Soepoyo, Surakarta, Central Java, 1999

The USD Gamelan Ensemble rehearses with a selection of slendro instruments from the gamelan, Kyai Rengga Manis Everist by Ud Soepoyo, Surakarta, Central Java, Indonesia, 1999, in the Beede Gallery. Purchase funds gift of Margaret Ann Everist, Sioux City, Iowa, 1999.

What does the NMM's gamelan sound like? Listen to musical excerpts from the CD, Sayuk: Together in Harmony, recorded at the NMM in 2007 by The Sumunar Gamelan Ensemble of the Indonesian Performing Arts Association of Minnesota.
  • Ladrang, Sri Wibowo-Srepeg, Laras Slendro Pathet Songo (1904)
  • Lagu, Pemut, Laras Pelog Pathet Enem by Joko Sutrisno (2007)
  • Lancaran, Sayuk-Sampak, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno


Glossary of Terms Relating to the Kyai Rengga Manis Everist Gamelan

Balungan
Bedhug
Bonang Barung
Bonang Panembung
Buka
Celempung
Colotomic Structure
Dhalang
Elaborating Instruments
Engkuk
Gambang
Gatra
Gender Barung
Gender Panerus
Gendhing
Gendhing Bonang
Gerong
Gong Ageng
Gong Siyem
Gong Suwukan
Irama
Irama Dados
Irama Tanggung
Kecer Wayang
Kemanak

Kemong
Kempiang
Kempul
Kendhang Ageng
Kendhang Ciblon
Kendhang Kalih
Kendhang Ketipung
Kendhang Satu
Kendhang Wayang
Kenong
Kenong Japan
Kenthogan
Keprak
Ketawang
Kethoprak
Kethuk
Klenengan
Kotak Tabuh
Ladrang
Lancaran
Laras
Laras Pelog
Laras Slendro
Naga
Ngelik

Pelog
Pesinden
Racikan
Rebab
Sampak
Saron Barung
Sarong Demung
Saron Nyacah
Saron Panerus (Peking)
Saron Wayang
Sekaten
Selamatan
Seleh
Siter
Slametan
Slendro
Slenthem
Slentho
Srepeg
Suling
Tabuh
Tari
Wayang
Wayang Kulit



BALUNGAN
Definition:  lit., 'skeleton,' 'frame.' The basic or skeletal melody in gamelan music. This basic melody is an abstraction of the melody played by the elaborating instruments. The balungan is played by the slenthem, demung, and saron barung.


BEDHUG
Function:  In gamelan Sekaten, the bedhug gives the cues for tempo changes, acts as a phrase divider and emphasizes the strong seleh (resolution notes) during the racikan (long introduction), and performs a colotomic function similar to the kempul once the introduction is over and the actual piece of music has started. In other kinds of music, the bedhug can be used to emphasize the strong tones of the kendhang ageng.
Link to description of bedhug in the Kyai Rengga Manis Everist gamelan.
Playing technique:  the bedhug is played using a soft-tipped mallet hit at the center of the drumhead.


BONANG BARUNG
Function:  The bonang barung is both an elaborating, as well as a leading instruments. Similar to the rebab and gender barung, the bonang barung can play the buka or introduction to a piece of music. As in the case of the buka rebab and gender, players are expected to know the introduction and be able to follow without being told in advance what piece will be played. In a special kind of music known as gendhing bonang, the bonang barung plays a prominent role in leading the melody. In this type of music the rebab and gender are not played. The patterns that are played by the bonang barung depend on the irama or tempo structure. The patterns can be derived from the balungan or basic melody of the saron; however. it is more appropriate to say that the balungan is derived from the bonang patterns (and also the melody of the rebab and gender barung) and not the other way around. Similar to the gander barung, there is a changing of the number of beats played by the bonang in relation to the balungan (basic melody) played by the saron and slenthem when the irama (tempo structure) changes. For example, in irama tanggung there are eight bonang beats for every four of the saron, whereas, in irama dados, there are sixteen bonang beats for every four of the basic melody. It is the basic melody tempo that slows down to accommodate these further elaborations of the melody by the bonang barung. The upper row of pots is considered to be female, while the lower octave is male.
Link to description of bonang barung in the Kyai Rengga Manis Everist gamelan.
Playing technique:  the bonang barung is played with the soft end of two mallets. The player sits on the side with the lowest octave pots. The previous note will be dampened as the next is played using the mallet’s soft end unless the instrument is mature enough that the pots only ring briefly, or unless the music is too complex for all the notes to be dampened effectively.


BONANG PANEMBUNG
Function:  The bonang panembung is traditionally played almost exclusively in ceremonial music. This includes weddings and ceremonial court music. Its role is to reinforce the basic melody or balungan played by the saron and to signal the gong. The upper row of pots is considered to be the female, while the lower octave is the male.
Link to description of bonang panembung in the Kyai Rengga Manis Everist gamelan.
Playing technique:  the bonang panembung is played with the soft end of two mallets. The player sits on the side with the lowest octave pots. The previous note is dampened as the next is played using the mallet’s soft end.


BONANG PANERUS
Function:  The bonang panerus plays patterns that are derivative of the bonang barung patterns, usually twice as fast and occurring on what in Western musical terms might be considered the off beat. The bonang panerus player must follow the lead of the bonang barung player even though it often begins its patterns slightly before the bonang barung player. The patterns that are played by the bonang panerus depend on the irama or tempo structure, similar to the bonang barung. The upper row of pots is considered to be the female, while the lower octave is male.
Link to description of bonang panerus in the Kyai Rengga Manis Everist gamelan.
Playing technique:  the bonang panerus is played with using the soft end of two mallets. The player sits on the side with the lowest octave pots. The previous note is dampened as the next is played using the mallet’s soft end unless the instrument is mature enough that the pots only ring briefly, or unless the music is too complex for all the notes to be dampened effectively.


BUKA
Definition:  the opening phrase or introduction of a gamelan composition (gendhing).


CELEMPUNG
Function:  The celempung is an elaborating instrument. Its role is similar to that of the siter—filling in with ornate patterns based on the balungan (basic melody) and the irama (tempo structure). The clempung, siter, and gambang all play the same number of beats in relation to each measure of the balungan melody.
Link to description of celempung in the Kyai Rengga Manis Everist gamelan.
Playing technique:  the celempung is played the same way as the siter—sitting on the floor facing the smaller end of the instrument, the player plucks the strings with the nails of both thumbs. Long thumbnails are essential.


COLOTOMIC STRUCTURE
Definition:  (from Greek, kolon: 'section' or 'limb')  A term used by ethnomusicologist, Jaap Kunst (1934), to describe the phrase structure of a gendhing, or composition, for gamelan. Gongs are played to mark the major sections of a gamelan composition, such as at the beginning and the end, as well as at various subsections and phrases. According to "Colotomic structure [colotomy]," Grove Music Online ed. L. Macy (Accessed 05 May 2006), "Over a dozen different colotomic structures are in regular use, each with its own name such as ladrang and ketawang. A specific drum part is associated with each colotomic structure."


DHALANG
Definition:  the puppeteer in the wayang kulit (shadow puppet) performance.


ELABORATING INSTRUMENTS
Definition:  The instruments providing melodic elaboration in the Javanese gamelan include the bonang barung, bonang panerus, gambang, gender barung, gender panerus, celempung, and siter.


ENGKUK / KEMONG
Function:  The engkuk/kemong is not frequently used in gamelan music today. It is a structure instrument similar to the kempiang/kethuk and the kenong. Its function is to play at specific places within a composition depending upon its structure.
Link to description of engkuk in the Kyai Rengga Manis Everist gamelan.
Playing technique:  the engkuk/kemong is played with mallets like the kethuk/kempiang or kenong. The player sits on the floor and strikes the node (or highest point) of the pot with the soft end of the mallet.


GAMBANG
Function:  The gambang is an elaborating instrument. Its role is similar to that of the siter or gender panerus—filling in with ornate patterns based on the balungan (melody) and the irama (tempo structure). The gambang, celempung, and siter all play the same number of beats in relation to each measure of the balungan.
Link to description of gambang in the Kyai Rengga Manis Everist gamelan.
Playing technique:  the player sits on the floor in front of the instrument with the high octaves (shorter keys) to the right. One mallet is held in each hand and the bars are struck with the soft end.


GATRA
Definition:  lit., 'embryo.' Metrical unit of a gamelan piece (gendhing), consisting of four beats.


GENDER BARUNG
Function:  The gender barung is one of the most important and, at the same time, one of the most difficult instruments to play in the Javanese gamelan. Its role is to fill in the basic melody with more elaborate and ornamental parts, but, it may also serve as a leader in playing the buka (introductory phrase) to a piece of music and signaling transitions to different melodic sections in a composition. The gender barung player must pay close attention to the rebab. The relationship between the rebab and the gender barung is complex: it both follows and leads the rebab in articulating the movement of the melody. There are many styles of playing the gender barung depending upon the region and the individual player. The rhythmic relationship of the gender barung to the basic melody (balungan), played by the saron barung, saron demung, and slenthem, varies from 8 beats per 4-beat measure (gatra) of the basic melody, to 16, to 32, to 64, and so on. These different rhythmic relationships (irama) are accompanied by a slowing of the tempo of the basic melody. For example, when the gender barung plays 16 beats for every four beats of the basic melody, the tempo of the basic melody is twice as slow as when the gender plays 8 beats for every four of the basic melody.
Link to description of gender barung in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The gender barung is played with both hands, holding the thin end of the mallet and striking the keys with the padded end. The right and left hands play different notes and rhythms. The previous note is dampened after the next note is played. The left hand dampens the note by using the padding of the hand below the small finger, while the right hand dampens using the thumb and small finger.


GENDER PANERUS
Function:  The gender panerus is one of the gamelan’s elaborating instruments. It is similar in its appearance to the gender barung but its range extends one octave higher. Unlike the gender barung, the gender panerus does not serve as a melody leader but simply as ornamentation. Its rhythm is usually even and without syncopation and it fills the spaces between the basic melody notes of the balungan played by the saron barung, demung, and slenthem.
Link to description of gender panerus in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The gender panerus is played with two hands, each note dampened when the following note is played.


GENDHING
Definition:  generic term for any gamelan composition. It can also be used to refer to a specific type of formal musical structure in gamelan music. Listen to a musical excerpt from the gendhing, Titipati, Kethuk 2 Kerep Minggah 4, Laras Slendro Pathet Enem (ca. 1820-1823), recorded on the NMM gamelan in 2007 by The Sumunar Gamelan Ensemble of the Indonesian Performing Arts Association of Minnesota.


GENDHING BONANG
Definition:  a gamelan composition in which the bonang both plays the introduction and is the principal melodic instrument. In gendhing bonang, the other usual elaborating instruments do not play.


GERONG
Definition:  a unison male chorus that sings with the gamelan.


GONG AGENG
Function:  The gong ageng is considered the father or master of the gamelan. This particular gong is treated with great respect, including the offering of flowers and food during performances and ceremonies. Music usually begins and ends with the gong ageng.
Link to description of gong ageng in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The gong ageng is played by hitting the node of the instrument with the soft end of the mallet.


GONG SIYEM
Function:  The gong siyem is a structure instrument that plays in designated places within a composition and relative to the patterns played by the kempiang/kethuk, kenong, and kempul. This gong can be used in place of a gong ageng.
Link to description of gong siyem in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The gong siyem is played by hitting the node with the soft end of the mallet.


GONG SUWUKAN
Function:  The gong suwukan is a structure instrument that plays in designated places within a composition, relative to the patterns played by the kempiang/kethuk, kenong, and kempul. In many compositions, there are multiple phrases ending with the playing of the gongs and the entire series of phrases can be repeated many times. This gong is used when there are multiple gongs within a piece of music and is not normally used at the beginning, end, or as the last gong of a repeated series of gongs. The gong suwukan can also be used to emphasize certain melodic phrases within a gong phrase.
Link to description of gong suwukan in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The gong suwukan is played by hitting the node with the soft end of the mallet.


IRAMA
Definition:  tempo structure and relationships in a gendhing (gamelan piece).


IRAMA DADOS
Definition:  In the tempo structure, irama dados, there are sixteen bonang beats for every four of the basic melody.


IRAMA TANGGUNG
Definition:  In the tempo structure, irama tanggung, there are eight bonang beats for every four of the saron.


KECER WAYANG
Function:  The kecer wayang is most often used in music for the wayang kulit, the Javanese shadow puppet theater. It is usually played in a steady, but rapid rhythm.
Link to description of kercer wayang in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kecer wayang is held with two hands, one holding each of the free cymbals that are used to strike the cymbals attached to the frame. The hands never move far away from the frame.


KEMANAK
Function:  The kemanak is used primarily in ceremonial music. Its role is somewhat similar to the structure instruments such as kempiang/kethuk. Although its role is considered that of one instrument, two kemanaks are usually played together.
Link to description of kemanak in the Kyai Rengga Manis Everist gamelan.
Playing technique:  Players hold the kemanak in one hand and strike it near the slit. The kemanak is then swung upward in an arcing motion while players press their thumbs against the opening, near the base, to mute the sound.


KEMONG (see ENGKUK)

KEMPIANG AND KETHUK
Function:  The kempiang/kethuk is often referred to as a structure instrument. Its function is to play at specific places within a composition depending upon the structure of the music. Some commonly played structures are lancaran, ketawang, ladrang, gendhing, srepeg, and sampak. In each of these structures the kethuk/kempiang has assigned places in which it is to play that are related to the patterns of the kenong, kempul, and gong. In some structures it also plays a variation on its pattern to cue the gong.
Link to description of kempiang in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kethuk/kempiang can be played with one or two mallets. The player sits on the floor and strikes the node of the pot with the soft end of the mallet.



KEMPUL
Function:  The kempul is a structure instrument. It plays in designated places within a composition depending on the structure of the music and relative to the patterns played by the kempiang/kethuk, kenong, and gong.
Link to description of kempul in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kempul is played by hitting the node with the soft end of the mallet.



KENDHANG AGENG
Function:  The kendhang player shoulders a great deal of responsibility in the gamelan, for the role of the kendhang is to establish and maintain the tempo, to lead the gamelan through all tempo changes within a piece of music, to decide whether or not to move immediately from one piece of music into another without stopping, and to signal the end of each piece. The kendhang ageng can be played together with the kendhang ketipung by the same player, an arrangement known as kendhang kalih, or it can be played alone by one person, known as kendhang satunggal or kendhang satu. Compared to the ciblon and wayang, this kendhang is played with relatively little ornamentation and is characterized by very deep, resonating sounds.
Link to description of kendhang ageng in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kendhang ageng is a hand drum played by using a variety of strokes on both heads.



KENDHANG CIBLON
Function:  The kendhang ciblon, capable of producing a wide range of tones and volume, is frequently used to accompany Javanese dance, or tari, and is also used in concert music known as klenengan. There is a specific style of playing this drum for traditional dance that is very ornamental and elaborate, like the kendhang wayang; however, the kendhang ciblon can also be used to play the kendhang ageng patterns.
Link to description of kendhang ciblon in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kendhang ciblon is a hand drum played by using a variety of strokes on both heads.


KENDHANG KALIH
Definition:  lit., 'two drums.' Describes the playing of two drums by the same player, as the kendhang ageng with the kendhang ketipung.



KENDHANG KETIPUNG
Function:  The kendhang ketipung can be played together with the kendhang ageng by the same player, an arrangement known as kendhang kalih, or it can be played alone by one person accompanying the kendhang ageng player. Compared to the ciblon and wayang, the kendhang is played with relatively little ornamentation.
Link to description of kendhang ketipung in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kendhang ketipung is a hand drum played using a variety of strokes on both heads.


KENDHANG SATU or SATUNGGAL
Definition:  lit., 'one drum.' Used to describe one player playing one drum.



KENDHANG WAYANG
Function:  The kendhang wayang is used in the wayang kulit or Javanese shadow puppet theater, an art form always accompanied by a gamelan. This drum is used to create sound accompaniment for the movements of the puppets by the dhalang or puppeteer. It can be played quite loudly and is capable of producing a very wide range of tones and dynamics. There is a specific style of playing this drum for shadow puppet theater, which can be very ornamental and elaborate like the kendhang ciblon; however, the kendhang wayang can also be used to play kendhang ageng patterns. The kendhang wayang can also be played in venues other than shadow puppet theater.
Link to description of kendhang wayang in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kendhang wayang is a hand drum played using a variety of strokes on both heads.



KENONG
Function:  The kenong is often referred to as a structure instrument. The function of the kenong is to play at specific places within a composition depending upon the structure of that composition. Some commonly played structures are lancaran, ketawang, ladrang, gendhing, srepeg, and sampak. In each of these structures the kenong has assigned places in which it plays that are related to the patterns of the kethuk, kempiang, kempul, and gong. In modern Central Javanese gamelan music, the kenong also follows and anticipates the movements of the melody, paying close attention to areas of repeated notes and transitions into the ngelik, or higher melodic section.
Link to description of kenong in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kenong is usually played with one mallet, but can be played with two if the music is very fast. The player sits on the floor and strikes the node (or highest point) of the pot with the soft end of the mallet.



KENONG JAPAN
Function:  The kenong Japan is not often used in gamelan music today. It is a structure instrument similar to the kenong. Its function is to play at specific places within a composition depending upon its structure.
Link to description of Kenong Japan in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kenong Japan is played with a mallet like the one used for the kenong. The player sits on the floor and strikes the node (or highest point) of the pot with the soft end of the mallet.



KENTHOGAN
Function:  In the gamelan, the kenthongan is used in the kethoprak, a Javanese dance drama. It signals the cues for the drummers and dancers. Outside the context of gamelan, the kenthongan is used for announcing messages within villages and neighborhoods, such as the death of a villager or the presence of intruders.
Link to description of kenthogan in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The kenthogan is played by striking the wood near the slit with a stick.



KEPRAK
Function:  The keprak is used in Javanese wayang kulit (shadow puppet theater) by the dhalang (puppeteer) to give sound effects to puppet movements. It can also be used to cue the musicians to start, stop, and speed up the music.
Link to description of keprak in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The keprak is played by hanging the plates on the hook from the puppet box. The dhalang (puppeteer) manipulates the plates with the foot while seated cross-legged.


KETAWANG
Definition:  one of the formal structures of a gamelan composition (gendhing).



KETHOPRAK
Definition:  a Javanese historical dance drama that derives its story lines and characters from real or semi-mythical personalities.



KETHUK (see KEMPIANG)


KLENENGAN
Definition:  A type of Javanese gamelan concert music, played in a soft and contemplative style, used for listening entertainment rather than for the accompaniment of a dramatic theatrical event.



KOTAK TABUH
Function:  Box in which mallets are stored.
Link to description of Kotak Tabuh in the Kyai Rengga Manis Everist gamelan.




LADRANG
Definition:  one of the formal structures of a gamelan composition (gendhing). Listen to a musical excerpt from the ladrang, Sri Wibowo-Srepeg, Laras Slendro Pathet Songo (1904), recorded on the NMM gamelan in 2007 by The Sumunar Gamelan Ensemble of the Indonesian Performing Arts Association of Minnesota.



LANCARAN
Definition:  one of the formal structures of a gamelan composition (gendhing). Listen to a musical excerpt from the lancaran, Sayuk-Sampak, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by The Sumunar Gamelan Ensemble of the Indonesian Performing Arts Association of Minnesota.



LARAS
Definition:  refers to a tuning system or a pitch. Listen to a musical excerpt played in the laras tuning system: Sayuk-Sampak, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by The Sumunar Gamelan Ensemble of the Indonesian Performing Arts Association of Minnesota.



LARAS PELOG (see PELOG)


LARAS SLENDRO (see SLENDRO)


NAGA
Definition:  The naga (dragon) is a traditional royal symbol from Central Java. Many of the frames for the Kyai Rengga Manis Everist gamelan are carved with nagas, their crowned heads facing outward and their tails coiled together at the center. The nagas’ mouths are typically open and individual teeth are carved, along with a forked tongue. Each naga has what appears to be a collar or stylized hair and beard curling out from under the head. The body arches into an arc twice before the tails coil and meet.



NGELIK
Definition:  melodic movement to a higher register in gamelan music.


PELOG
Definition:  the Javanese tuning system in which the octave is divided into seven intervals. A full gamelan set employs both tuning systems—slendro and pelog—although the two sets are never played simultaneously. The Kyai Rengga Manis Everist gamelan is such a full gamelan set. Listen to a musical excerpt played in the pelog tuning system: Sayuk-Sampak, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno, recorded on the NMM gamelan in 2007 by The Sumunar Gamelan Ensemble of the Indonesian Performing Arts Association of Minnesota.


PESINDEN
Definition:  a solo female singer in the gamelan.


RACIKAN
Definition:  a long introduction. In gamelan Sekaten, the bedhug gives the cues for tempo changes, acts as a phrase divider and emphasizes the strong seleh (resolution notes) during the racikan (long introduction).



REBAB
Function:  The rebab is, in many ways, the melody leader. It plays a more lyrical melody than that of the basic or skeletal melody instruments like the slenthem and it articulates the high and low tones that the slenthem and saron are not able to play because of their limited range. The rebab is often responsible for playing the introduction to a piece of music (buka), signaling the other players to move to different sections of melody within a piece, and in many instances, deciding which pieces to play. This is often done by simply playing the introduction, and the other musicians are expected to recognize the piece and follow along. The rebab and gender barung are closely related, often listening to each other for melodic variations and ornamentation. The rebab and gerong (vocal part similar to a choir) are also interdependent in establishing the lyrical melody of a piece.
Link to description of rebab in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The rebab player sits cross-legged on the floor with the instrument held vertically--its spike resting on the floor in front of the player. The instrument is bowed at the point where the neck joins the body. The player’s left hand articulates the notes by pressing gently on the fretless wire, with the thumb remaining behind the neck.



SAMPAK
Definition:  one of the formal structures of a gamelan composition (gendhing).



SARON BARUNG
SARON DEMUNG
SARON PANERUS (PEKING)
Function:  The saron instruments play the basic or skeletal melody of the music—the balungan. This basic melody is an abstraction of the melody played by the elaborating instruments. Usually the notation for any piece of music will be limited to the part played by the saron instruments.
Link to description of saron barung in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The saron instruments are played by striking the bar in its center with the oval end of the mallet and dampening the previous bar when the next is played. The player sits on the side with the pitches ascending to the right.


SARON NYACAH
Definition:  The saron wayang is used to play special patterns that other saron do not play, because of its larger range. These patterns are called saron nyacah and occur mostly in music for wayang (Javanese puppet and mask theater).



SARON WAYANG
Function:  The saron wayang is used to play special patterns that other saron do not play, because of its larger range. These patterns are called saron nyacah and occur mostly in music for wayang (Javanese puppet and mask theater).
Link to description of saron wayang in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The saron instruments are played by striking the bar in its center with the oval end of the mallet and dampening the previous bar when the next is played. The player sits on the side with the pitches ascending to the right.


SEKATEN
Definition:  a pelog gamelan ensemble played in Indonesia during the Muslim holy week or Sekaten (which celebrates the birth of the prophet Muhammad), after which the ensemble is named.


SELAMATAN
Definition:  A Javanaese ritual meal. According to Javanese custom, the selamatan (or slametan) may be performed in order to mark many special occasions, including rites of passage such as birth, marriage, and death, as well as other transitions, such as harvest, recovery from illness, name-changing, or embarking on a journey. Whatever the occasion, it is meant to produce a propitious sense of well-being and security. The ceremony is believed to ensure that all possible auspicious influences are brought to bear on any future undertakings. This process of perfecting intent and potential is known in the Javanese language as slamet or sometimes salamet. At a slametan, food that differs from everyday fare is offered. These special foods have symbolic meanings. The yellow rice mountain, for instance, symbolizes success, high aspirations or hope. On its peak are garlic, red onion, and hot chili, all of which are meant to ward off evil. The yellow rice stands for love, and the white, purity. At the base, the whole chicken represents unity, while the whole egg means new life. The long green beans signify long life, and the mixed vegetables, diversity. These foods all rest on a platter of folded banana leaves, representing strength.
Three selamatans (slametans) were celebrated for the Kyai Rengga Manis Everist gamelan: 1) before it left Java; 2) after its arrival in Vermillion; and 3) at its naming ceremony.


SELEH
Definition:  resolution notes or phrases. The suling plays a role similar to the pesinden (female solo vocalist) by emphasizing strong seleh or resolution phrases.



SITER
Function:  The siter is an elaborating instrument. Its role is similar to that of the celempung—filling in with ornate patterns based on the balungan or basic melody and the irama; however, the octave range of the siter is higher than that of the celempung. The siter, celempung, and gambang all play the same number of beats in relation to each measure of the balungan melody.
Link to description of siter in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The siter is played like the celempung—the player sits on the floor facing the smaller end of the instrument and plucks the strings with the nails of both thumbs. Long thumbnails are essential.


SLAMETAN (see SELAMATAN)

SLENDRO
Definition:  the Javanese tuning system in which the octave is divided into five intervals. A full gamelan set employs both tuning systems—slendro and pelog—although the two sets are never played simultaneously. The Kyai Rengga Manis Everist gamelan is such a full gamelan set. Listen to a musical excerpt from the ladrang, Sri Wibowo-Srepeg, Laras Slendro Pathet Songo (1904), recorded on the NMM gamelan in 2007 by The Sumunar Gamelan Ensemble of the Indonesian Performing Arts Association of Minnesota.



SLENTHEM
Function:  The slenthem usually plays the basic or skeletal melody in Central Javanese traditional music, referred to in Javanese as the balungan. Its scale, an octave below the demung, is the lowest of the basic melody instruments. Because its large bars are played with a soft mallet and resonate over hollow tubes, the tone of the slenthem is smooth and mellow. Although its sound is less piercing than that of the other basic melody instruments such as the saron barung and demung, the slenthem has a central role in supporting the melody.
Link to description of slenthem in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The player sits on the side with the bars ascending in pitch from left to right. The bars are struck with the padded end of the mallet. The free hand dampens the previous note at the same time that the next note is struck with the mallet.



SLENTHO
Function:  The slentho plays the basic or skeletal melody of the music. In cases where the slenthem deviates from the basic melody, the slentho follows the slenthem.
Link to description of slentho in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The slentho is played by striking the bar in its center with the oval end of the mallet and dampening the previous bar when the next is played. The player sits on the side with the pitches ascending from left to right.



SREPEG
Definition:  one of the formal structures of a gamelan composition (gendhing).



SULING
Function:  The suling is an elaborating instrument. Its role is similar to the pesinden (female solo vocalist) in emphasizing strong seleh or resolution phrases. It also has considerable freedom, as does the female vocalist, in its interpretation of these melodic phrases in terms of when it begins to play, what patterns it plays, its rhythm and ornamentation, and when it chooses to end its phrase.
Link to description of suling in the Kyai Rengga Manis Everist gamelan.
Playing technique:  The suling is an endblown flute with an external duct and is held vertically in front of the player.



TABUH
Definition: a mallet for striking instruments of the gamelan.



TARI
Definition:  Javanese classical dance.


WAYANG
Definition:  lit., 'shadow.' May refer to the wayang kulit—the shadow puppet performance—or it may be used generically to refer to any traditional, dramatic performance accompanied by the gamelan.


WAYANG KULIT
Definition:  Javanese shadow puppet performance, traditionally accompanied by a slendro gamelan.

Go to The Manufacture and Ceremonial History of the Kyai Rengga Manis Everist Gamelan
Go to The Arrival of the Kyai Rengga Manis Everist Gamelan in Vermillion, July 15, 2000
Go to The Naming Ceremony for the Kyai Rengga Manis Everist Gamelan, April 26, 2003
Go to Checklist of Musical Instruments from Kyai Rengga Manis Everist Gamelan


National Music Museum
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414 East Clark Street
Vermillion, SD 57069



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