Downloads OpenVPN 2.3.4 released on 2014.05.02

<a href="https://openvpn.net/index.php/open-source/downloads.html">Downloads : https://openvpn.net/index.php/open-source/downloads.html</a><br /><br /><br /><br /><br /><br /><b>Downloads OpenVPN 2.3.4 -- released on 2014.05.02 (<a href="https://community.openvpn.net/openvpn/wiki/ChangesInOpenvpn23">Change Log</a>)</b><br /><br /><br />The most important change in this release is that TLS version <br /><br />negotiation is no longer used unless it's explicitly turned on in the <br /><br />configuration files, thus reverting back to the 2.3.2 behaviour as <br /><br />interoperability issues were encountered in 2.3.3. Other notable changes<br /><br /> include addition of SSL library version reporting, fixing of SOCKSv5 <br /><br />authentication logic and making serial env exporting consistent between OpenSSL and PolarSSL. This release also contains a number of other bug fixes and small enhancements.<br /><br /><br />The Windows installer I001 had additional code to prevent problems <br /><br />during install and uninstall if installer bitness is wrong or if the <br /><br />OpenVPN-GUI or an OpenVPN process is running. The Windows I001 <br /><br />installers also bundled OpenSSL 1.0.1g, which means that they are immune<br /><br /> to the <a href="http://heartbleed.com/">heartbleed vulnerability </a>(OpenVPN-specifics <a href="https://community.openvpn.net/openvpn/wiki/heartbleed">here</a>). WIndows I002 installers bundle OpenSSL 1.0.0h, which fixes several vulnerabilities, including a <a href="http://www.openssl.org/news/secadv_20140605.txt">MITM vulnerability </a>that affects OpenVPN.<br /><br /><br /><i>All Windows users of OpenVPN 2.3.4 should upgrade to the latest release immediately.</i><br /><br /><br /><i>Experimental </i>Windows installers with <a href="https://github.com/OpenVPN/tap-windows6">NDIS 6 -enabled tap-windows drivers </a>are also <a href="https://community.openvpn.net/openvpn/wiki/ExperimentalVersions">available</a> for Windows Vista and above. Note that it is <i>possible</i>, even if unlikely, that the NDIS 6 drivers could crash, giving a <a href="https://en.wikipedia.org/wiki/Blue_Screen_of_Death">BSOD</a>. Long story short: please do not use them on valuable production systems.<br /><br /><br />If you find a bug in this release, please file a bug report to our <a href="https://community.openvpn.net/">Trac bug tracker</a>. In uncertain cases please contact our developers first, either using the <a href="https://lists.sourceforge.net/mailman/listinfo/openvpn-devel">openvpn-devel mailinglist</a> or the developer IRC channel (#openvpn-devel at irc.freenode.net). For generic help take a look at our official <a href="https://openvpn.net/index.php/open-source/documentation/howto.html">documentation</a>, <a href="https://community.openvpn.net/">wiki</a>, <a href="https://forums.openvpn.net/">forums</a>, <a href="http://sourceforge.net/mail/?group_id=48978">openvpn-users mailing list</a> and user IRC channel (#openvpn at irc.freenode.net).<br /><br /><br /><table border="1" cellpadding="8" cellspacing="4" style="height: 136px; width: 591px;"><tbody><br /><tr bgcolor="#e4dbec"><br /><td><span style="font-size: xx-small;">Source Tarball (gzip)</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.4.tar.gz"><span style="font-size: xx-small;"><b>openvpn-2.3<span style="font-size: xx-small;">.4</span>.tar.gz</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.4.tar.gz.asc">GnuPG Signature</a></td><br /></tr><br /><tr bgcolor="#dcf1e4"><br /><td><span style="font-size: xx-small;">Source Tarball (xz)</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.4.tar.xz"><span style="font-size: xx-small;"><b>openvpn-2.3<span style="font-size: xx-small;">.4</span>.tar.xz</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.4.tar.xz.asc">GnuPG Signature</a></td><br /></tr><br /><tr bgcolor="#e4dbec"><br /><td><span style="font-size: xx-small;">Source Zip</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.4.zip"><span style="font-size: xx-small;"><b>openvpn-2.3<span style="font-size: xx-small;">.4</span>.zip</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.4.zip.asc">GnuPG Signature</a></td><br /></tr><br /><tr bgcolor="#dcf1e4"><br /><td><span style="font-size: xx-small;">Windows Installer (32-bit)</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.4-I002-i686.exe"><span style="font-size: xx-small;"><b>openvpn-install-2.3<span style="font-size: xx-small;">.4</span>-I002-i686.exe</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.4-I002-i686.exe.asc">GnuPG Signature</a></td><br /></tr><br /><tr style="background-color: #e4dbec;"><br /><td><span style="font-size: xx-small;">Windows Installer (64-bit)</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.4-I002-x86_64.exe"><span style="font-size: xx-small;"><b>openvpn-install-2.3<span style="font-size: xx-small;">.4</span>-I002-x86_64.exe</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.4-I002-x86_64.exe.asc">GnuPG Signature</a></td><br /></tr><br /></tbody><br /></table><br /><br /><br />Instructions for verifying the signatures are available <a href="https://openvpn.net/index.php/open-source/documentation/sig.html">here</a>.<br /><br /><br />We also provide static URLs pointing to latest releases to ease automation. For a list of files look <a href="http://build.openvpn.net/downloads/releases/latest/">here</a>.<br /><br /><br />This release is also available in our own software repositories for <br /><br />Debian and Ubuntu, Supported architectures are i386 and amd64. For <br /><br />details. look <a href="https://community.openvpn.net/openvpn/wiki/OpenvpnSoftwareRepos">here</a>.<br /><br /><br />Note that <i>easy-rsa</i> is no longer bundled with OpenVPN source code archives. To get it, visit the <a href="https://github.com/OpenVPN/easy-rsa">easy-rsa</a> page on GitHub, or download it from our Linux software repositories.<br /><br /><br /><hr /><h2>OpenVPN 2.3.2 -- released on 2013.06.03 (<a href="https://community.openvpn.net/openvpn/wiki/ChangesInOpenvpn23">Change Log</a>)</h2>This is an old point release and you should in general use OpenVPN <br /><br />2.3.4 instead. However, as OpenVPN 2.3.4 contains a few potentially <br /><br />disruptive changes you may want to use this older release instead. <br /><br />Windows I004 installers included a fix for the very serious <a href="http://heartbleed.com/">heartbleed vulnerability</a> (OpenVPN-specifics <a href="https://community.openvpn.net/openvpn/wiki/heartbleed">here</a>). Windows I005 installers bundle OpenSSL 1.0.0h, which fixes severe security issues.<br /><br /><br /><i>All Windows users of OpenVPN 2.3.2 should upgrade to latest 2.3.2 or 2.3.4 release immediately.</i><br /><br /><br /><table border="1" cellpadding="8" cellspacing="4" style="height: 136px; width: 591px;"><tbody><br /><tr bgcolor="#e4dbec"><br /><td><span style="font-size: xx-small;">Source Tarball</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.2.tar.gz"><span style="font-size: xx-small;"><b>openvpn-2.3<span style="font-size: xx-small;">.2</span>.tar.gz</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.2.tar.gz.asc">GnuPG Signature</a></td><br /></tr><br /><tr bgcolor="#dcf1e4"><br /><td><span style="font-size: xx-small;">Source Zip</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.2.zip"><span style="font-size: xx-small;"><b>openvpn-2.3<span style="font-size: xx-small;">.2</span>.zip</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-2.3.2.zip.asc">GnuPG Signature</a></td><br /></tr><br /><tr bgcolor="#e4dbec"><br /><td><span style="font-size: xx-small;">Windows Installer (32-bit)</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.2-I005-i686.exe"><span style="font-size: xx-small;"><b>openvpn-install-2.3<span style="font-size: xx-small;">.2</span>-I005-i686.exe</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.2-I005-i686.exe.asc">GnuPG Signature</a></td><br /></tr><br /><tr style="background-color: #dcf1e4;"><br /><td><span style="font-size: xx-small;">Windows Installer (64-bit)</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.2-I005-x86_64.exe"><span style="font-size: xx-small;"><b>openvpn-install-2.3<span style="font-size: xx-small;">.2</span>-I005-x86_64.exe</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/openvpn-install-2.3.2-I005-x86_64.exe.asc">GnuPG Signature</a></td><br /></tr><br /></tbody><br /></table>Instructions for verifying the signatures are available <a href="https://openvpn.net/index.php/open-source/documentation/sig.html">here</a>.<br /><br /><br /><hr /><h2><a href="https://www.blogger.com/null" name="older-releases"></a>OpenVPN -- Older Releases</h2>Older OpenVPN releases not explicitly listed above can be downloaded from <a href="http://swupdate.openvpn.org/community/releases/">here</a> (alternate <a href="http://build.openvpn.net/downloads/releases/">link</a>).<br /><br /><br /><b>WARNING:</b> The Windows installers for these old releases may contain OpenSSL versions that have the <a href="http://heartbleed.com/">heartbleed vulnerability </a>or <a href="http://www.openssl.org/news/secadv_20140605.txt">other</a> serious security issues. You should <i>not</i><br /><br /> use any of these old OpenVPN Windows installers, unless you are <br /><br />absolutely sure it's safe in your use case. If you depend on an old <br /><br />OpenVPN version make sure you build the Windows binaries yourself and <br /><br />link them to an up-to-date OpenSSL version.<br /><br /><br /><hr /><h2><a href="https://www.blogger.com/null" name="packages-and-ports"></a>OpenVPN -- Packages and ports</h2>OpenVPN is available in repositories of most open source operating systems such as <a href="http://www.debian.org/">Debian</a>, <a href="http://www.ubuntu.com/">Ubuntu</a>, <a href="http://fedoraproject.org/">Fedora</a>, <a href="http://www.freebsd.org/">FreeBSD</a> and <a href="http://maemo.org/">Maemo</a>.<br /><br /> Some of them may have several versions available, e.g. one for latest <br /><br />beta branch, one for latest development code and one for stable <br /><br />releases. Using these OS-provider versions is usually easiest. However <br /><br />the OpenVPN project also packages latest OpenVPN releases for some open <br /><br />source operating systems. Take a look <a href="https://community.openvpn.net/openvpn/wiki/OpenvpnSoftwareRepos">here</a> to see if these packages are available for your OS.<br /><br /><br /><br /><br /><br /><hr /><h2>Tap-windows</h2>OpenVPN uses TAP-windows to provide virtual tap device functionality <br /><br />on Windows. Normally you don't need to install TAP-windows separately, <br /><br />as OpenVPN installers include it.<br /><br /><br /><table border="1" cellpadding="8" cellspacing="4" style="height: 136px; width: 591px;"><tbody><br /><tr bgcolor="#dcf1e4"><br /><td><span style="font-size: 8pt;">Source Zip</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/tap-windows-9.9.2_3.zip"><span style="font-size: 8pt;"><b><span style="font-size: 8pt;">tap-windows</span>-9.9.2_3.zip</b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/tap-windows-9.9.2_3.zip.asc">GnuPG Signature</a></td><br /></tr><br /><tr bgcolor="#e4dbec"><br /><td><span style="font-size: 8pt;">Windows Installer</span></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/tap-windows-9.9.2_3.exe"><span style="font-size: 8pt;"><b>ta<span style="font-size: 8pt;">p-windows-9.9.2_3.exe</span></b></span></a></td><br /><td><a href="http://swupdate.openvpn.org/community/releases/tap-windows-9.9.2_3.exe.asc">GnuPG Signature</a></td><br /></tr><br /></tbody><br /></table>Most other operating systems have virtual tap device functionality in their kernels.<br /><br /><br /><hr /><h2>Easy-rsa</h2>Starting with openvpn-2.3_alpha2 <i>easy-rsa</i> is no longer part of the OpenVPN source or binary packages. It can be downloaded separately from it's <a href="https://github.com/OpenVPN/easy-rsa">GitHub project page</a>.<br /><br /><br /><hr /><h2>Openvpn-build</h2>Official Windows binary packages are cross-compiled on Linux using <a href="http://mingw-w64.sourceforge.net/">mingw_w64</a> and the <a href="https://github.com/OpenVPN/openvpn-build">openvpn-build</a> buildsystem. For details, look at the <a href="https://community.openvpn.net/openvpn/wiki/BuildingUsingGenericBuildsystem">Wiki documentation</a>.<br /><br /><br /><br /><br /><br /><hr /><a href="https://www.blogger.com/null" name="lzo"></a><br /><br /><br /><h2>LZO RPM Packages</h2>The OpenVPN RPM package requires the <a href="http://www.oberhumer.com/opensource/lzo/">LZO library</a> for real-time link compression. (sources: <a href="http://dag.wieers.com/rpm/packages/lzo2/">Dag Wieers</a> and <a href="ftp://mirror.mcs.anl.gov/pub/suse/">SuSE distribution</a>).

Downloads OpenVPN 2.3.4 released on 2014.05.02

Downloads : https://openvpn.net/index.php/open-source/downloads.html Downloads OpenVPN 2.3.4 -- released on 2014.05.02 ( Change Log ) The mo...

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SEDULUR PAPAT

<div dir="ltr" style="text-align: left;" trbidi="on"> <b>A. SEDULUR PAPAT KELIMO PANCER</b><br /> <br /> <div style="text-align: justify;"> Orang jawa tradisional percaya akan eksistensi sedulur papat/saudara empat yg selalu mendampingi seseorang dimana saja dan kapan saja selama orang itu masih hidup. Meraka memang ditugas oleh kekausaan alam untuk selalu setia membantu. Mereka tidak mempunyai badan jasmani tetapi ada baiknya dan kamu juga harus mempunyai hubungan baik dengan mereka </div> <br /> Adapun yang disebut sedulur papat adalah: <br /> <ol style="text-align: left;"> <li><b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">KAKANG KAWAH: saudara tua kawah, dia keluar dari gua garba ibu sebelum kamu, tempatnya di timur warnanya putih</span></span></i></b></li> <li><b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">ADI ARI-ARI: adik ari-ari, dia keluar dari gua garba ibu setelah kamu, tempatnya di barat warnanya kuning</span></span></i></b></li> <li><b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">GETIH: darah yang keluar dari gua garba ibu sewaktu melahirkan, tempatnya di selatan warnanya merah</span></span></i></b></li> <li><b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">PUSER: pusar yang dipotong sesudah kelahiran mu, tempatnya di utara warnanya hitam </span></span></i></b></li> </ol> <div style="text-align: justify;"> Selain sedulur papat diatas, yang lain adalah kelima pancer itulah badan jasmani kamu. Merekalah yang disebut sedulur papat kelima pancer, mereka ada karena kamu ada. Sementara orang mengatakan mereka kiblat papat lima tengah (empat jurusan yang kelima di tengah). Mereka berlima di lahirkan melalui ibu.</div> <div style="text-align: justify;"> Mereka itu adalah MAR dan MARTI, berbentuk udara. MAR adalah udara yang di hasilkan karena perjuangan ibu saat melahirkan bayi sedangkan MARTI adalah udara yang merupakan rasa ibu sesudah selamat melahirkan si jabang bayi. Secara mistis MAR dan MARTI ini warnanya putih dan kuning. Kamu bisa minta bantuan MAR dan MARTI setelah kamu melakukan tapa brata (laku spiritual yang sesungguhnya). </div> <br /> <br /> <b>B. AKTIVASI SEDULUR PAPAT KELIMO PANCER </b><br /> <br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">"Bismillahirrohmanirrohim...</span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">Kun kata Allah, fayakun kata Muhammad, robbukum kata jibril, </span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">Ya Jibril Ya Mikail Ya Isrofil Ya Izroil, </span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">Ya iku Sang Ratu Kepyok Sang Ratu Herang Putih, Ka dulur bathin Ka anak bathin kanu opat lima pancer,</span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">Ya ALLAH aku mohon diantar ke dulur bathinku ke anak bathinku,</span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">yang hidup dalam satu hari satu malam.</span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">Wahai dulur bathinku anak bathinku,</span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">bantulah aku................</span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">Berkat LA ILAHAILLALLAH MUHAMMADUR ROSULULLAH,</span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;">aku tahu asal mu 204 sambungan HU ALLAH (di baca 13X atau 75X selama 7 hari berturut2) </span></span></i></b><br /> <b><i><span style="background-color: #999999;"><span style="color: #f3f3f3;"><br /></span></span></i></b> <br /> <br /> <b>C. UNTUK MINTA BANTUAN SEDULUR PAPAT KELIMO PANCER </b><br /> <br /> <i><b><span style="background-color: #999999;"><span style="color: #f3f3f3;">"Kakang kawah adi ari-ari sedulur tua papat lima pancer,</span></span></b></i><br /> <i><b><span style="background-color: #999999;"><span style="color: #f3f3f3;">sing dumunung ana ing awak ingsun,</span></span></b></i><br /> <i><b><span style="background-color: #999999;"><span style="color: #f3f3f3;">jungkungana laku ingsun jabang bayine...(nama anda) bisa kasembadan apa sing ana ati lan pikiran ingsun yaiku...(sebutkan permintaan anda ex: bisa ketemu kelawan sira sedulur kabeh), kanti kalis ing sambekala padang panjang...Amien..." </span></span></b></i><br /> Sebelum membacanya sebaiknya baca alfatihah<br /> <br /> <a href="http://sekawan-kumpulan-goib.blogspot.com/2012/08/sedulur-papat.html"><i>http://sekawan-kumpulan-goib.blogspot.com/2012/08/sedulur-papat.html</i></a></div>

SEDULUR PAPAT

A. SEDULUR PAPAT KELIMO PANCER Orang jawa tradisional percaya akan eksistensi sedulur papat/saudara empat yg selalu mendampingi seseor...

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Annotated Checklist of Musical Instruments In the Kyai Rengga Manis Everist Gamelan

<div dir="ltr" style="text-align: left;" trbidi="on"> <a href="http://www.blogger.com/null" name="top"></a> <a href="http://www.blogger.com/null" name="TOP"></a> <br /> <table align="center" style="width: 90%px;"> <tbody> <tr><td align="right" width="25%"><img alt="National Music Museum Logo" src="http://orgs.usd.edu/nmm/Gamelan/nmmlogo5.jpg" /> </td> <td width="3%"></td> <td align="center" width="52%"><img alt="National Music Museum" src="http://orgs.usd.edu/nmm/Gamelan/nmmname2.jpg" /> </td> <td></td> </tr> </tbody></table> <table align="center" cellspacing="3" style="width: 700px;"> <tbody> <tr> <td align="center" valign="middle" width="57"><a href="http://www.usd.edu/smm/"><b><span style="font-size: x-small;">Home</span></b></a>  </td><td align="center" valign="middle" width="94"><a href="http://www.usd.edu/smm/collect.html"><b><span style="font-size: x-small;">Collections </span></b></a> </td> <td align="center" valign="middle" width="74"><div align="center"> <a href="http://www.usd.edu/smm/galleries.html"><b><span style="font-size: x-small;"> Virtual Tour</span></b></a> </div> </td> <td align="center" valign="middle" width="86"><a href="http://www.usd.edu/smm/Calendar/calendar.html"><b><span style="font-size: x-small;">Calendar</span></b></a> </td> <td align="center" valign="middle" width="58"><a href="http://www.usd.edu/smm/GiftShop/giftshop.html"><b><span style="font-size: x-small;">Gift Shop</span></b></a> </td> <td align="center" valign="middle" width="57"><a href="http://www.usd.edu/smm/FAQ.html"><b><span style="font-size: x-small;">FAQ</span></b></a> </td> <td align="center" valign="middle" width="60"><a href="http://www.usd.edu/smm/Indices/smmindex.html"><b> <span style="font-size: x-small;">Site Index</span></b></a> </td><td align="center" valign="middle" width="82"><a href="http://www.usd.edu/smm/Indices/nmmMakers.html"><b><span style="font-size: x-small;">Maker Index</span></b></a></td> </tr> </tbody></table> <br /> <table style="width: 100%px;"> <tbody> <tr> <td width="1%"></td> <td width="94%"><h2> <center> Annotated Checklist of Musical Instruments In <br /> the <i>Kyai Rengga Manis Everist</i> Gamelan</center> </h2> <center> <img alt="A selection of slendro instruments from the gamelan, Kyai Rengga Manis Everist, by Ud Soepoyo, Surakarta, Central Java, 1999" border="0" height="467" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Ensemble/Gamelan.jpg" width="700" /> </center> <h4> <div align="JUSTIFY"> A selection of slendro instruments from the gamelan, <i>Kyai Rengga Manis Everist</i> by Ud Soepoyo, Surakarta, Central Java, Indonesia, 1999, can be seen on display in the Beede Gallery. Purchase funds gift of Margaret Ann Everist, Sioux City, Iowa, 1999.</div> <div align="JUSTIFY"> What does the NMM's gamelan sound like? Listen to musical excerpts from the CD, <a href="http://orgs.usd.edu/nmm/GiftShop/CDs/GamelanCD.html"><i>Sayuk: Together in Harmony</i></a>, recorded at the NMM in 2007 by <a href="http://www.ipaam.org/ensembles.html">The Sumunar Gamelan Ensemble</a> of the Indonesian Performing Arts Association of Minnesota.</div> <center> <ul> <li>Ladrang, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sri%20Wibowo.mp3">Sri Wibowo-Srepeg</a></i>, Laras Slendro Pathet Songo (1904)</li> <li>Lagu, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Pemut.mp3">Pemut</a></i>, Laras Pelog Pathet Enem by Joko Sutrisno (2007)</li> <li>Lancaran, <i><a href="http://orgs.usd.edu/nmm/GiftShop/CDClips/Gamelan/Gamelan%20Sayuk%20Sampak.mp3">Sayuk-Sampak</a></i>, Laras Pelog Pathet Barang by Marto Pengrawit (1950), arr. by Joko Sutrisno</li> </ul> </center> <div align="JUSTIFY"> Listen to an "<a href="http://orgs.usd.edu/nmm/Gamelan/Music/sdfr1925_1965.ram">audio postcard</a>," a short interview with members of the Tatag Gamelan Ensemble (USD), produced by Susan Hanson (<a href="http://www.sdpb.org/Archives/ProgramDetail.asp?ProgID=1925">South Dakota Public Radio</a>), following an April 2004 performance at the National Music Museum. Members interviewed include Gamelan Director, Deborah Check Reeves (NMM Curator of Education), Maggie Sampson, Karen Lipp, and Shawn Parker. </div> </h4> <hr /> <h4> <div align="JUSTIFY"> Looking for a map? Link to the <a href="http://www.lib.utexas.edu/maps/">Perry-Castañeda Library Map Collection at the University of Texas at Austin</a> for an excellent collection of historic and current worldwide maps. Click here for their <a href="http://www.lib.utexas.edu/maps/indonesia.html">selection of maps of Indonesia</a>.</div> </h4> <hr /> <center> <h3> Checklist</h3> </center> <center> <h4> Instrument Types Represented in the <i>Kyai Rengga Manis Everist</i> Gamelan <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bedhug">Bedhug</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Barung">Bonang Barung</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panembung">Bonang Panembung</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Bonang%20Panerus">Bonang Panerus</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Celempung">Celempung</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">Engkuk / Kemong</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gambang">Gambang</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Barung">Gender Barung</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gender%20Panerus">Gender Panerus</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Ageng">Gong Ageng</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Siyem">Gong Siyem</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Gong%20Suwukan">Gong Suwukan</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kecer%20Wayang">Kecer Wayang</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kemanak">Kemanak</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">Kemong</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">Kempiang / Kethuk</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempul">Kempul</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ageng">Kendhang Ageng</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ciblon">Kendhang Ciblon</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Ketipung">Kendhang Ketipung</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kendhang%20Wayang">Kendhang Wayang</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong">Kenong</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenong%20Japan">Kenong Japan</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kenthogan">Kenthogan</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Keprak">Keprak</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">Kethuk</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kotak%20Tabuh">Kotak Tabuh</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Mallets">Mallets (Tabuh)</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Rebab">Rebab</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Barung">Saron Barung</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Demung">Sarong Demung</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Panerus">Saron Panerus (Peking)</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Saron%20Wayang">Saron Wayang</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Siter">Siter</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slenthem">Slenthem</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Slentho">Slentho</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Suling">Suling</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Tabuh">Tabuh (Mallets)</a><br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Maker%27s%20Sign">Maker's Sign</a></h4> </center> <hr /> <h4> <a href="http://www.blogger.com/null" name="Bedhug"></a><center> BEDHUG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9882/gamelandrum.html"><img alt="Bedhug" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9882/9882bedhugportraitT.jpg" width="106" /></a></center> <div align="JUSTIFY"> NMM 9882. <a href="http://orgs.usd.edu/nmm/Gamelan/9882/gamelandrum.html">Bedhug</a>. Barrel-shaped, teakwood drum. Two equally sized, water-buffalo- hide heads held in place by twenty-eight wooden pegs. Decorated with flower, leaf, and naga pattern covered in gold leaf. Length (head to head): 66.9 cm. One long teakwood mallet (tabuh) with thick, soft red cloth padding at one end. Three-piece stand decorated with nagas (dragons) wearing crowns ("dragon king"), and flower and leaf patterns covered with gold leaf. </div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bedhug">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Bonang Barung"></a> <center> BONANG BARUNG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9873/BonangBarung9873.html"><img alt="Bonang Barung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9873/9873gamelanbonangbarungportraitwithoutmalletsT.jpg" width="269" /></a></center> <div align="JUSTIFY"> NMM 9873. <a href="http://orgs.usd.edu/nmm/Gamelan/9873/BonangBarung9873.html">Bonang Barung in Laras Slendro</a>. Mid-sized bonang. Twelve bronze pots in two rows of six located in square openings in rectangular teakwood frame, suspended by string threaded through channels carved into frame. Frame decorated with flower and leaf patterns covered with gold leaf. Two removable wings on each end of stand carved in shape of two nagas (dragons) with intertwining tails at top, curved bodies, and heads resting at the bottom of the wings on both ends; covered in gold leaf. Length (wing to wing, not including wings): 223.8 cm. Diameter of largest pot (at base): 18.1 cm. Two mallets (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.</div> <div align="JUSTIFY"> NMM 9876. Bonang Barung in Laras Pelog. Mid-sized bonang. Fourteen bronze pots in two rows of seven. Length (wing to wing, not including wings): 223.8 cm. Diameter of largest pot (at base): 18.1 cm. Two mallets (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bonang%20Barung">function and playing technique</a>. <hr /> <a href="http://www.blogger.com/null" name="Bonang Panembung"></a> <center> BONANG PANEMBUNG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9875/BonangPanembung9875.html"><img alt="Bonang Panembung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9875/9875bonangpanembungportraitnomalletsT.jpg" width="361" /></a></center> <div align="JUSTIFY"> NMM 9872. Bonang Panembung in Laras Slendro. Largest member of the bonang group. Twelve bronze pots in two rows of six located in square openings in rectangular teakwood frame, suspended by string threaded through channels carved into frame. Frame decorated with flower and leaf patterns covered with gold leaf. Two removable wings on each end of stand carved in shape of two nagas (dragons) with intertwining tails at top, curved bodies, and heads resting at the bottom of the wings on both ends; covered in gold leaf. Length (wing to wing, not including wings): 223.8 cm. Diameter of largest pot (at base): 23.5 cm. Two mallets (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.</div> <div align="JUSTIFY"> NMM 9875. <a href="http://orgs.usd.edu/nmm/Gamelan/9875/BonangPanembung9875.html">Bonang Panembung in Laras Pelog</a>. Largest member of the bonang group. Fourteen bronze pots in two rows of seven. Length (wing to wing, not including wings): 257.1 cm. Diameter of largest pot (at base): 22.0 cm. Two mallets (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bonang%20Panembung">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Bonang Panerus"></a> <center> BONANG PANERUS</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9874/BonangPanerus9874.html"><img alt="Bonang Panerus" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9874/9874gamelanbonangpanerusportraitT.jpg" width="249" /></a></center> <div align="JUSTIFY"> NMM 9874. <a href="http://orgs.usd.edu/nmm/Gamelan/9874/BonangPanerus9874.html">Bonang Panerus in Laras Slendro</a>. Smallest member of the bonang group. Twelve bronze pots in two rows of six located in square openings in rectangular teakwood frame, suspended by string threaded through channels carved into frame. Frame decorated with flower and leaf patterns covered with gold leaf. Two removable wings on each end of stand carved in shape of two nagas (dragons) with intertwining tails at top, curved bodies, and heads resting at the bottom of the wings on both ends; covered in gold leaf. Length (wing to wing, not including wings): 223.8 cm. Diameter of largest pot (at base): 15.1 cm. Two mallets (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.</div> <div align="JUSTIFY"> NMM 9877. Bonang Panerus in Laras Pelog. Smallest member of the bonang group. Fourteen bronze pots in two rows of seven. Length (wing to wing, not including wings): 223.8 cm. Diameter of largest pot (at base): 15.0 cm. Two mallets (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Bonang%20Panerus">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Celempung"></a> <center> CELEMPUNG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9879/Celempung9879.html"><img alt="Celempung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9879/9879gamelancelempungsideT.jpg" width="144" /></a></center> <div align="JUSTIFY"> NMM 9878 and 9879. <a href="http://orgs.usd.edu/nmm/Gamelan/9879/Celempung9879.html">Celempungs</a>. Plucked zithers with four legs. Twenty-six strings in groups of two held in place by metal pins in an S-shaped wrest plank. Teakwood body decorated with flower and leaf pattern covered in gold leaf. Length: 103.1 cm. One tuning hammer.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Celempung">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Engkuk"></a> <center> ENGKUK / KEMONG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9891/Engkuk.html"><img alt="Engkuk/Kemong" border="0" height="80" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9891/9891engkukportraitT.jpg" width="151" /></a></center> <div align="JUSTIFY"> NMM 9891. <a href="http://orgs.usd.edu/nmm/Gamelan/9891/Engkuk.html">Engkuk/Kemong in Laras Slendro</a>. Suspended pots on teakwood frame. Decorated with flower and leaf pattern covered in gold leaf. Length: 68.0 cm. Mallet (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Engkuk">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Gambang"></a> <center> GAMBANG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9883/Gambang9883.html"><img alt="Gambang" border="0" height="90" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9883/9883gamelangambangportraitwithoutmalletsT.jpg" width="258" /></a></center> <div align="JUSTIFY"> NMM 9883. <a href="http://orgs.usd.edu/nmm/Gamelan/9883/Gambang9883.html">Gambang in Laras Slendro</a>. Twenty teakwood bars on long, hollowed, rectangular block of teakwood. Wings carved with two nagas (dragons) on either side, tails intertwining, lotus leaf decoration in the center. Teakwood decorated with flower and leaf pattern. Carvings covered in gold leaf. Length (wing to wing, not including wings): 133.5 cm. Two long, slender mallets (tabuh) made of buffalo horn with disc of wood covered with a ring-shaped pad of red cloth.</div> <div align="JUSTIFY"> NMM 9884. Gambang in Laras Pelog Pathet Nem. Twenty teakwood bars. Length (wing to wing, not including wings): 136.5 cm. Two mallets (tabuh).</div> <div align="JUSTIFY"> NMM 9885. Gambang in Laras Pelog Pathet Barang. Twenty teakwood bars. Length (wing to wing, not including wings): 137.1 cm. Two mallets (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gambang">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Gender Barung"></a> <center> GENDER BARUNG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9859/Gender9859.html"><img alt="NMM 9859. Gender Barung in Laras Slendro" border="0" height="80" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9859/9859GenderbarungportraitT.jpg" width="164" /></a></center> <div align="JUSTIFY"> NMM 9859. <a href="http://orgs.usd.edu/nmm/Gamelan/9859/Gender9859.html">Gender Barung in Laras Slendro</a>. Fourteen bronze bars suspended by a cord over sheet iron resonating tubes in a teakwood frame. Decorated with flower and leaf pattern covered with gold leaf. Feet decorated with a single leaf pattern covered with gold leaf. Length: 116.3 cm. Two small mallets (tabuh) with handles and disc-shaped heads with ring-shaped, red-cloth padding.</div> <div align="JUSTIFY"> NMM 9860. Gender Barung in Laras Pelog Pathet Nem. Fourteen bronze bars. Length: 115.6 cm. Two small mallets (tabuh).</div> <div align="JUSTIFY"> NMM 9861. Gender Barung in Laras Pelog Pathet Nem. Fourteen bronze bars. Length: 116.1 cm. Two small mallets (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gender%20Barung">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Gender Panerus"></a> <center> GENDER PANERUS</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9862/GenderPanerus.html"><img alt="NMM 9862. Gender Panerus in Laras Slendro" border="0" height="68" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9862/9862IndonesiagenderpanerusportraitT.jpg" width="120" /></a></center> <div align="JUSTIFY"> NMM 9862. <a href="http://orgs.usd.edu/nmm/Gamelan/9862/GenderPanerus.html">Gender Panerus in Laras Slendro</a>. Fourteen bronze bars suspended by a cord over sheet iron resonating tubes in a teakwood frame. Decorated with flower and leaf pattern covered with gold leaf. Feet decorated with a single leaf pattern covered with gold leaf. Length (wing to wing, not including wings): 96.5 cm. Two small mallets (tabuh) with handles and disc-shaped heads with ring-shaped, red-cloth padding.</div> <div align="JUSTIFY"> NMM 9863. Gender Panerus in Laras Pelog Pathet Nem. Fourteen bronze bars. Length: 97.0 cm. Two small mallets (tabuh).</div> <div align="JUSTIFY"> NMM 9864. Gender Panerus in Laras Pelog Pathet Barang. Fourteen bronze bars. Length: 97.0 cm. Two small mallets (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gender%20Panerus">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Gong Ageng"></a> <center> GONG AGENG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9918/GongAgeng99189919.html"><img alt="Gong Ageng" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9918/9918&9919gongagengportraitT.jpg" width="158" /></a></center> <div align="JUSTIFY"> NMM 9918. <a href="http://orgs.usd.edu/nmm/Gamelan/9918/GongAgeng99189919.html">Gong Ageng in Laras Slendro</a>. Large bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 79 cm. Three-piece stand shared by 9919. Teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord.</div> <div align="JUSTIFY"> NMM 9919. <a href="http://orgs.usd.edu/nmm/Gamelan/9918/GongAgeng99189919.html">Gong Ageng in Laras Pelog</a>. Large bronze gong. Diameter (backside): 82 cm. Three-piece stand shared by 9918. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gong%20Ageng">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Gong Siyem"></a> <center> GONG SIYEM</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9914/9914and9915gongsfrontT.jpg" width="162" /></a></center> <div align="JUSTIFY"> NMM 9917A. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Gong Siyem</a>. Medium- to large-sized bronze gong with strong, thick cord through two holes in the outer rim. Diameter (backside): 63.7 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gong%20Siyem">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Gong Suwukan"></a> <center> GONG SUWUKAN</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9914/9914and9915gongsfrontT.jpg" width="162" /></a> <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html"><img alt="Gongs Suwukan and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9916/9916and9917gongsfrontviewT.jpg" width="163" /></a></center> <div align="JUSTIFY"> NMM 9915A. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Gong Suwukan in Laras Slendro "2."</a> Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 51.4 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord.</div> <div align="JUSTIFY"> NMM 9915B. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Slendro "1."</a> Medium-sized bronze gong. Diameter (backside): 54.6 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9917B. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Pelog "1."</a> Medium-sized bronze gong. Diameter (backside): 53.1 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9917C. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Pelog "2."</a> Medium-sized bronze gong. Diameter (backside): 50.8 cm. Mallet (tabuh). </div> <div align="JUSTIFY"> NMM 9917D. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Gong Suwukan in Laras Pelog "7."</a> Medium-sized bronze gong. Diameter (backside): 53.7 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Gong%20Suwukan">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kecer Wayang"></a> <center> KECER WAYANG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9892/KecerWayang.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9892/9892gamelankecerwayangT.jpg" width="220" /></a></center> <div align="JUSTIFY"> NMM 9892. <a href="http://orgs.usd.edu/nmm/Gamelan/9892/KecerWayang.html">Kecer Wayang</a>. Two pair of bronze cymbals. One of each pair attached to a small stand, the other two unattached, with small leather loops inserted through holes located in the center. Teakwood stand decorated with flower and leaf pattern covered in gold leaf. Length: 40.1 cm.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kecer%20Wayang">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kemanak"></a> <center> KEMANAK</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9893/Kemanak9893.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9893/9893gamelankemanakT.jpg" width="130 " /></a></center> <div align="JUSTIFY"> NMM 9893A. <a href="http://orgs.usd.edu/nmm/Gamelan/9893/Kemanak9893.html">Kemanak in Laras Slendro "6."</a> Two metal, slit gongs, shaped out of a thick sheet of bronze curled into a curved tube similar in shape to a banana, with an open slit along one side from end to end. Length: 33.3 cm. Mallet (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the Kemanak.</div> <div align="JUSTIFY"> NMM 9893B. <a href="http://orgs.usd.edu/nmm/Gamelan/9893/Kemanak9893.html">Kemanak in Laras Slendro "1."</a> Length: 34.3 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kemanak">function and playing technique</a>. <br /> <hr /> <center> KEMONG (see <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Engkuk">ENGKUK</a>)</center> <hr /> <a href="http://www.blogger.com/null" name="Kempiang"></a> <center> KEMPIANG AND KETHUK</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9888/KempiangKethuk9888.html"><img alt="NMM Kempiang and Kethuk in Laras Slendro" border="0" height="80" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9888/9888KethukfrontT.jpg" width="123" /></a></center> <div align="JUSTIFY"> NMM 9888. <a href="http://orgs.usd.edu/nmm/Gamelan/9888/KempiangKethuk9888.html">Kempiang and Kethuk in Laras Slendro</a>. Two bronze pots in teakwood frame. Taller pot is the kempiang; squatter pot is the kethuk. Pots suspended by red cord attached to the frame. Decorated with flower and leaf pattern covered in gold leaf. Length (frame): 67.9 cm. Diameter of kethuk (at base): 20.5 cm. Diameter of kempiang (at base): 19.5 cm. Mallet (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.</div> <div align="JUSTIFY"> NMM 9889. Kempiang and Kethuk in Laras Pelog. Length (frame): 68.0 cm. Diameter of kethuk (at base): 23.0 cm. Diameter of kempiang (at base): 18.7 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kempiang">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kempul"></a> <center> KEMPUL</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html"><img alt="Gongs Siyem, Suwukan, and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9914/9914and9915gongsfrontT.jpg" width="162" /></a> <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html"><img alt="Gongs Suwukan and Kempul" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9916/9916and9917gongsfrontviewT.jpg" width="163" /></a></center> <div align="JUSTIFY"> NMM 9914A. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "6."</a> Small bronze gong with strong, thick cord passing through two holes in the outer rim. Diameter (backside): 36.6 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord.</div> <div align="JUSTIFY"> NMM 9914B. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "5."</a> Small bronze gong. Diameter (backside): 40.5 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9914C. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "3."</a> Small bronze gong. Diameter (backside): 41.1 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9914D. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "1."</a> Small bronze gong. Diameter (backside): 37.2 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9914E. <a href="http://orgs.usd.edu/nmm/Gamelan/9914/Gongs991499159917.html">Kempul in Laras Slendro "2."</a> Small bronze gong. Diameter (backside): 34.8 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9916A. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "6."</a> Small bronze gong. Diameter (backside): 37.3 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9916B. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "5."</a> Small bronze gong. Diameter (backside): 41.2 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9916C. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "3."</a> Small bronze gong. Diameter (backside): 43.5 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9916D. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "7."</a> Small bronze gong. Diameter (backside): 36.1 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9916E. <a href="http://orgs.usd.edu/nmm/Gamelan/9916/Gongs991599169917.html">Kempul in Laras Pelog "1."</a> Small bronze gong. Diameter (backside): 33.2 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kempul">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kendhang Ageng"></a> <center> KENDHANG AGENG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html"><img alt="NMM 9865. Kendhang Ageng" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9865/9865KendhangagengportraitT.jpg" width="121" /></a> </center> <div align="JUSTIFY"> NMM 9865. <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html">Kendhang Ageng</a>. Largest of the gamelan drums. Conical with a small and large head. Water-buffalo hide heads laced together with long strands of hide crisscrossed around the body. Teakwood body decorated with flower and leaf pattern covered with gold leaf. Length (head to head): 75.7 cm. Teakwood stand.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Ageng">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kendhang Ciblon"></a> <center> KENDHANG CIBLON</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9869/KendhangCiblon9869.html"><img alt="Kendhang Ciblon" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9869/9869gamelankendhangciblonsideT.jpg" width="114" /></a> </center> <div align="JUSTIFY"> NMM 9869. <a href="http://orgs.usd.edu/nmm/Gamelan/9869/KendhangCiblon9869.html">Kendhang Ciblon</a>. Mid-sized gamelan drum. Water-buffalo hide heads laced together with long strands of hide crisscrossed around the body. Teakwood body decorated with flower and leaf pattern covered with gold leaf. Length (head to head): 65.6 cm. Teakwood stand.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Ciblon">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kendhang Ketipung"></a> <center> KENDHANG KETIPUNG</center> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html#9866"><img alt="NMM 9866 and 9865. Kendhang Ketipung and Kendhang Ageng" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9865/9865KendhangagengportraitwithNMM9866T.jpg" width="131" /></a> </center> <div align="JUSTIFY"> NMM 9866. <a href="http://orgs.usd.edu/nmm/Gamelan/9865/KendhangAgeng9865.html#9866">Kendhang Ketipung</a>. Smallest of the gamelan drums. Water-buffalo hide heads laced together with long strands of hide crisscrossed around the body. Teakwood body decorated with flower and leaf pattern covered with gold leaf. Length (head to head): 44.8 cm.</div> <div align="JUSTIFY"> NMM 9867. Kendhang Ketipung. Length (head to head): 46.0 cm.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Ketipung">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kendhang Wayang"></a> <center> KENDHANG WAYANG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9868/KendhangWayang9868.html"><img alt="Kendhang Wayang" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9868/9868gamelankendhangwayangsideT.jpg" width="117" /></a></center> <div align="JUSTIFY"> NMM 9868. <a href="http://orgs.usd.edu/nmm/Gamelan/9868/KendhangWayang9868.html">Kendhang Wayang</a>. Mid-sized gamelan drum. Water-buffalo hide heads laced together with long strands of hide crisscrossed around the body. Teakwood body decorated with flower and leaf pattern covered with gold leaf. Length (head to head): 68.6 cm. Teakwood stand.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kendhang%20Wayang">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kenong"></a> <center> KENONG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9886/Kenong9886.html"><img alt="Kenong" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9886/9886gamelankenorgportraitT.jpg" width="230" /></a></center> <div align="JUSTIFY"> NMM 9886. <a href="http://orgs.usd.edu/nmm/Gamelan/9886/Kenong9886.html">Kenong in Laras Slendro</a>. Six bronze pots suspended on three separate teakwood frames. Pots suspended red cord attached to the frame. Frames decorated with flower and leaf patterns covered in gold leaf. Length of frames: 89.7 cm, 89.8 cm, 89.9 cm. Diameter of largest pot (at base): 30.5 cm. Mallet (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.</div> <div align="JUSTIFY"> NMM 9887. Kenong in Laras Pelog. Six bronze pots. Length of frames: 89.3 cm, 89.5 cm, 90.0 cm. Diameter of largest pot (at base): 32.0 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kenong">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kenong Japan"></a> <center> KENONG JAPAN</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9890/KenongJapan.html"><img alt="Kenong Japan" border="0" height="76" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9890/9890kenongJapanportraitT.jpg" width="120" /></a></center> <div align="JUSTIFY"> NMM 9890. <a href="http://orgs.usd.edu/nmm/Gamelan/9890/KenongJapan.html">Kenong Japan in Laras Slendro and Pelog</a>. Larger than the kenong (9886 and 9887). Two bronze pots suspended by red cord attached to teakwood frame. Decorated with flower and leaf pattern covered in gold leaf. Length (frame): 101.7 cm. Mallet (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the pots.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kenong%20Japan">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Kenthogan"></a> <center> KENTHOGAN</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9920/Kenthogan9920.html"><img alt="Kenthogan" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9920/9920gamelankenthoganfrontviewT.jpg" width="157" /></a></center> <div align="JUSTIFY"> NMM 9920. <a href="http://orgs.usd.edu/nmm/Gamelan/9920/Kenthogan9920.html">Kenthogan</a>. Hollow, slit wooden tube. Teakwood body decorated with flower and leaf pattern covered in gold leaf. Length: 48.9 cm. Teakwood stand.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kenthogan">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Keprak"></a> <center> KEPRAK</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9921/Keprak9921.html"><img alt="Keprak" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9921/9921gamelankeprakT.jpg" width="122" /></a></center> <div align="JUSTIFY"> NMM 9921. <a href="http://orgs.usd.edu/nmm/Gamelan/9921/Keprak9921.html">Keprak (also kaprak)</a>. Four bronze plates tied together with cord and hung from a bronze hook. Length: 16.0 cm.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Keprak">function and playing technique</a>. <br /> <hr /> <center> KETHUK (see <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#Kempiang">KEMPIANG</a>)</center> <br /> <hr /> <a href="http://www.blogger.com/null" name="Kotak Tabuh"></a> <center> KOTAK TABUH</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9923/KotakTabuh9923.html"><img alt="Kotak Tabuh" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9923/9923gamelanmalletboxclosedT.jpg" width="149" /></a></center> <div align="JUSTIFY"> NMM 9922. Kotak tabuh (<a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html">mallet</a> box). Teakwood box hinged on one side, decorated with flower and leaf pattern covered in gold leaf. Length: 51.8 cm.</div> <div align="JUSTIFY"> NMM 9923. <a href="http://orgs.usd.edu/nmm/Gamelan/9923/KotakTabuh9923.html">Kotak tabuh</a> (<a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html">mallet box</a>). Length: 51.8 cm.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Kotak%20Tabuh">function</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Mallets"></a> <center> MALLETS (TABUH) </center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html"><img alt="Mallets (Tabuh)" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Mallets/gamelanmalletsgroupshotT.jpg" width="132" /></a></center> <br /> <hr /> <a href="http://www.blogger.com/null" name="Rebab"></a> <center> REBAB</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9870/Rebab9870.html"><img alt="Rebab" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9870/9870gamelanrebabportraitwithstandT.jpg" width="48" /></a></center> <div align="JUSTIFY"> NMM 9870 and 9871. <a href="http://orgs.usd.edu/nmm/Gamelan/9870/Rebab9870.html">Rebabs</a>. Teakwood body, neck, and tuning pegs. Strung with a single brass string that is wrapped around one peg, stretched down over the body, wrapped around a knob and ringlet at the foot, returned back across the body, and wrapped around second peg. Back of body covered with a red cloth decorated with gold-colored embroidery. Length: 111.8 cm. Teakwood stand decorated with flower and leaf pattern covered in gold leaf. Accessories include a bow (kosok), removable bridge (sreten), undecorated wooden case, block of rosin, and an extra coil of brass wire.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Rebab">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Saron Barung"></a> <center> SARON BARUNG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9903/SaronBarung9903.html"><img alt="Saron Barung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9903/9903gamelanbarungportraitwithoutmalletT.jpg" width="264" /></a></center> <div align="JUSTIFY"> NMM 9902. Saron Barung in Laras Slendro. Mid-sized member of saron group. Metallophone with seven large bronze bars placed over teakwood frame. Keys held in place by two pins inserted through holes in the bars and embedded in the frame. Decorated with flower and leaf pattern covered in gold leaf. Length: 87.4 cm. Mallet (tabuh) with long handle and large, oval-shaped wooden striker.</div> <div align="JUSTIFY"> NMM 9903. <a href="http://orgs.usd.edu/nmm/Gamelan/9903/SaronBarung9903.html">Saron Barung in Laras Slendro</a>. Mid-sized member of saron group. Length: 86.9 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9904. Saron Barung in Laras Slendro. Mid-sized member of saron group. Length: 84.9 cm. Mallet (tabuh). </div> <div align="JUSTIFY"> NMM 9906. Saron Barung in Laras Pelog. Mid-sized member of saron group. Metallophone with seven bronze bars placed over teakwood frame. Keys held in place by two pins inserted through holes in the bars and embedded in the frame. Decorated with flower and leaf pattern covered in gold leaf. Length: 86.7 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9907. Saron Barung in Laras Pelog. Mid-sized member of saron group. Length: 88.0 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9908. Saron Barung in Laras Pelog. Mid-sized member of saron group. Length: 88.5 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9909. Saron Barung in Laras Pelog. Mid-sized member of saron group. Length: 88.0 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Barung">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Saron Demung"></a> <center> SARON DEMUNG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9899/SaronDemung9899.html"><img alt="Saron Demung" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9899/9899gamelansarondemungportraitwithoutmalletT.jpg" width="293" /></a></center> <div align="JUSTIFY"> NMM 9898. Sarong Demung in Laras Slendro. Largest member of saron group. Metallophone with seven large bronze bars placed over teakwood frame. Keys held in place by two pins inserted through holes in the bar and embedded in the frame. Decorated with flower and leaf pattern covered in gold leaf. Length: 114.9 cm. Mallet (tabuh) with long handle and large, oval-shaped wooden striker.</div> <div align="JUSTIFY"> NMM 9899. <a href="http://orgs.usd.edu/nmm/Gamelan/9899/SaronDemung9899.html">Sarong Demung in Laras Slendro</a>. Largest member of saron group. Length: 114.6 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9900. Saron Demung in Laras Pelog. Largest member of saron group. Length: 113.9 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9901. Saron Demung in Laras Pelog. Largest member of saron group. Length: 114.3 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Demung">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Saron Panerus"></a> <center> SARON PANERUS (PEKING)</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9910/SaronPanerus9910.html"><img alt="NMM 9910. Saron Panerus (Peking) in Laras Slendro" border="0" height="88" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9910/9910SaronpanerusportraitT.jpg" width="200" /></a></center> <div align="JUSTIFY"> NMM 9910. <a href="http://orgs.usd.edu/nmm/Gamelan/9910/SaronPanerus9910.html">Saron Panerus (Peking) in Laras Slendro</a>. Smallest member of saron group. Metallophone with seven bronze bars placed over teakwood frame. Keys held in place by two pins inserted through holes in the bars and embedded in the frame. Decorated with flower and leaf pattern covered in gold leaf. Length: 66.6 cm. Mallet (tabuh) with a long handle tipped with water buffalo horn.</div> <div align="JUSTIFY"> NMM 9911. Saron Panerus (Peking) in Laras Slendro. Smallest member of saron group. Length: 67.1 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9912. Saron Panerus (Peking) in Laras Pelog. Smallest member of saron group. Length: 66.5 cm. Mallet (tabuh).</div> <div align="JUSTIFY"> NMM 9913. Saron Panerus (Peking) in Laras Pelog. Smallest member of saron group. Length: 67.7 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Panerus">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Saron Wayang"></a> <center> SARON WAYANG</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9905/SaronWayang9905.html"><img alt="NMM 9905. Saron Wayang in Laras Slendro" border="0" height="73" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9905/9905SaronwayangportraitT.jpg" width="200" /></a></center> <div align="JUSTIFY"> NMM 9905. <a href="http://orgs.usd.edu/nmm/Gamelan/9905/SaronWayang9905.html">Saron Wayang in Laras Slendro</a>. Mid-sized member of saron group. Metallophone with nine large bronze bars placed over teakwood frame. Bars held in place by two pins inserted through holes in the bars and embedded in the frame. Decorated with flower and leaf pattern covered in gold leaf. Length: 92.4 cm. Mallet (tabuh) with long handle and large, oval-shaped wooden striker.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Saron%20Wayang">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Siter"></a> <center> SITER</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9880/Siter9880.html"><img alt="NMM 9880. Siter" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9880/9880gamelansiterwithboxportraitT.jpg" width="157" /></a></center> <div align="JUSTIFY"> NMM 9880. <a href="http://orgs.usd.edu/nmm/Gamelan/9880/Siter9880.html">Siter</a>. Plucked zither with four legs. Twenty-four wire strings. Teakwood body decorated with flower and leaf pattern covered in gold leaf. Length (long side / short side): 58.5 / 45.8 cm. One tuning hammer and a small coil of extra wire.</div> <div align="JUSTIFY"> NMM 9881. Siter. Plucked zither with four legs. Twenty-four wire strings. Length (long side / short side): 58.6 / 46.4 cm. One tuning hammer and a small coil of extra wire.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Siter">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Slenthem"></a> <center> SLENTHEM</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9858/Slenthem9858.html"><img alt="NMM 9857. Slenthem" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9858/9858gamelanslenthemportraitwithoutmalletT.jpg" width="157" /></a></center> <div align="JUSTIFY"> NMM 9857. Slenthem in Laras Pelog. Seven bronze keys suspended by a cord over sheet-iron resonating tubes in a teakwood frame. Decorated with flower and leaf pattern covered with gold leaf. Feet decorated with a single leaf pattern covered with gold leaf. Length: 89.2 cm. Mallet (tabuh) with a long handle and disc-shaped head with ring-shaped, red-cloth padding.</div> <div align="JUSTIFY"> NMM 9858. <a href="http://orgs.usd.edu/nmm/Gamelan/9858/Slenthem9858.html">Slenthem in Laras Slendro</a>. Seven bronze keys. Length: 89.3 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Slenthem">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Slentho"></a> <center> SLENTHO</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9924/Slentho9924.html"><img alt="NMM 9924. Slentho." border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9924/9924gamelanslenthoportraitT.jpg" width="291" /></a></center> <div align="JUSTIFY"> NMM 9924. <a href="http://orgs.usd.edu/nmm/Gamelan/9924/Slentho9924.html">Slentho</a> in Laras Pelog. Similar to saron demung in size. Metallophone with seven large bronze bars placed over teakwood frame. Each bronze bar has node that is struck like a gong. Keys held in place by two pins inserted through holes in the bars and embedded into the frame. Decorated with flower and leaf pattern covered in gold leaf. Length: 115.2 cm. Mallet (tabuh) with red cord wrapped very close to one end creating a soft, springy, oval shape that comes in contact with the node of the bar.</div> <div align="JUSTIFY"> NMM 9925. Slentho in Laras Slendro. Similar to saron demung in size. Length, 114.7 cm. Mallet (tabuh).</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Slentho">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Suling"></a> <center> SULING</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9894/Suling9895.html"><img alt="Sulings" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9894/9894&9895gamelansulingsfrontT.jpg" width="76" /></a></center> <div align="JUSTIFY"> NMM 9894. <a href="http://orgs.usd.edu/nmm/Gamelan/9894/Suling9895.html">Suling (flute)</a> in Laras Slendro. One-piece, end-blown, bamboo flute with four finger holes. Length: 52.5 cm. Teakwood stand, shared with NMM 9897, decorated with flower and leaf pattern covered in gold leaf.</div> <div align="JUSTIFY"> NMM 9895. Suling (flute) in Laras Slendro. One-piece, end-blown, bamboo flute with four finger holes. Length: 51.8 cm.</div> <div align="JUSTIFY"> NMM 9896. Suling (flute) in Laras Pelog. Length: 54.98 cm.</div> <div align="JUSTIFY"> NMM 9897. <a href="http://orgs.usd.edu/nmm/Gamelan/9894/Suling9895.html">Suling (flute)</a> in Laras Pelog. Length: 54.0 cm. Stand shared by NMM 9894, teakwood decorated with flower and leaf pattern covered in gold leaf.</div> Link to description of <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html#Suling">function and playing technique</a>. <br /> <hr /> <a href="http://www.blogger.com/null" name="Tabuh"></a> <center> TABUH (MALLETS) </center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/Mallets/GamelanMallets.html"><img alt="Mallets (Tabuh)" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/Mallets/gamelanmalletsgroupshotT.jpg" width="132" /></a></center> <br /> <hr /> <a href="http://www.blogger.com/null" name="Maker's Sign"></a> <center> MAKER’S SIGN</center> <br /> <center> <a href="http://orgs.usd.edu/nmm/Gamelan/9926/GamelanMakersSign.html"><img alt="Maker's Sign" border="0" height="100" hspace="20" src="http://orgs.usd.edu/nmm/Gamelan/9926/9926gamelanmakersignT.jpg" width="94" /></a></center> <div align="JUSTIFY"> NMM 9926. <a href="http://orgs.usd.edu/nmm/Gamelan/9926/GamelanMakersSign.html">Maker's Sign</a>. Stand with two hooks from which hangs the sign: <i>MANUFACTURED BY. / UD. SOEPOYO. / MERTAN WIRUN / MOJOLANBAN. SUKOHARJO / JAWATENGAH – INDONESIA. / TELP. 0271.611883</i>. Length (base of stand): 68.4 cm. Text and carving covered in gold leaf.</div> <br /> <center> <img src="http://orgs.usd.edu/nmm/Signs/music.gif" /> </center> </h4> <h4> <center> Go to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanManufacture.html">The Manufacture and Ceremonial History of the <i>Kyai Rengga Manis Everist</i> Gamelan</a> </center> <br /> <center> Go to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanArrival.html">The Arrival of the <i>Kyai Rengga Manis Everist</i> Gamelan in Vermillion, July 15, 2000</a> </center> <br /> <center> Go to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanNaming.html">The Naming Ceremony for the <i>Kyai Rengga Manis Everist</i> Gamelan, April 26, 2003</a> </center> <br /> <center> Go to <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanGlossary/Definitions.html">Glossary of Terms Relating to the <i>Kyai Rengga Manis Everist</i> Gamelan</a> </center> </h4> <center> <img src="http://orgs.usd.edu/nmm/Signs/music.gif" /> </center> <h4> <center> National Music Museum<br /> The University of South Dakota<br /> 414 East Clark Street<br /> Vermillion, SD 57069</center> </h4> <center> <img src="http://orgs.usd.edu/nmm/Signs/music.gif" /> </center> <h5> <center> ©National Music Museum, 2006-2009<br /> Most recent update: February 3, 2009 <br /> You are the <a href="http://www.webtools.org/counter/"> 27,851st </a> visitor to this page since May 6, 2006. <a href="http://www.usd.edu/">The University of South Dakota</a> <br /> <a href="http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html#TOP">Return to Top of Page</a> </center> </h5> </td><td width="1%">  </td> <td width="4%"></td></tr> </tbody></table> <br /> <br /> <br /> <br /> <br /> <br /> <a href="http://www.blogger.com/blogger.g?blogID=3591678098812504686" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>http://orgs.usd.edu/nmm/Gamelan/GamelanChecklist.html </div>

Annotated Checklist of Musical Instruments In the Kyai Rengga Manis Everist Gamelan

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Primbon Kakang Kawah Adhi Ari-ari

<div dir="ltr" style="text-align: left;" trbidi="on"> 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.<br /> <div style="text-align: center;"> <i><span class="long_text" id="result_box" lang="jw" tabindex="-1"><span class="alt-edited">Kakang kawah lan Adhi Ari-Ari njaga jabang bayi kawit wujude tesih calon bayi nganti pungkasan urip (kivandanu).</span></span></i></div> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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 :<br /> <div style="text-align: center;"> <blink><b><br /></b><br /> <b>“Kakang Kawah Adhi Ari-ari,<br />jaganen aku sadina sawengi,<br />supaya slamet tumeka awakku,<br />sluman-slumun slamet<br />tan kena bebaya saka kersaning Allah”</b></blink></div> <div style="text-align: center;"> <br /></div> 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.<br /> <br /> 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.<br /> <br /> <i> http://sekawan-kumpulan-goib.blogspot.com/2012/08/primbon-kakang-kawah-adhi-ari-ari.html</i></div>

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 tans...

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Bisma Gugur Ki Sugino Siswocarito

<div dir="ltr" style="text-align: left;" trbidi="on"> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Menika </span>pasugatan ringgitan Banyumasan saking Ki Sugino Siswocarito ingkang ngangge “thema” <span style="font-size: large;"><b>Baratayuda Jayabinangun seri kalih</b></span>. 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</span></span></div> <br /> <div style="text-align: center;"> <span style="font-family: inherit;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0sgsBNKkBxqwfAFWA7mrWPlIwBj0cXj2BtPhs29GPtrERYGDweA_9vZ0ACyZG0FC7oobmmBM3jdIS5fZKnOawlnC1_XWDikfPvm9s8NBMQNa72eceypF1S8loeQK1tPKgbLGRABskuUq9/s1600/image001.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0sgsBNKkBxqwfAFWA7mrWPlIwBj0cXj2BtPhs29GPtrERYGDweA_9vZ0ACyZG0FC7oobmmBM3jdIS5fZKnOawlnC1_XWDikfPvm9s8NBMQNa72eceypF1S8loeQK1tPKgbLGRABskuUq9/s1600/image001.jpg" /></a></span></span></div> <div style="text-align: center;"> <i><span style="font-family: inherit;"><span style="font-size: small;">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) </span></span></i></div> <br /> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Wonten </span>lampahan <b><span style="font-size: large;">Bisma Gugur</span>, Baratayuda Jayabinangun</b> 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. </span></span></div> <div style="text-align: justify;"> <br /></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Kathahipun </span>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. <span style="font-size: large;"><span style="font-size: small;">Kejawi</span> </span>menika sakderengipun perang dipun wiwiti, wonten pejahipun Bambang Irawan. </span></span></div> <div style="text-align: justify;"> </div> <div style="text-align: justify;"> <br /></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Menawi </span>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. </span></span></div> <div style="text-align: justify;"> </div> <div style="text-align: justify;"> <br /></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Sedanipun </span>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. </span></span></div> <div style="text-align: justify;"> </div> <div style="text-align: justify;"> <br /></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">Nanging </span>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.</span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"></span></div> <div style="text-align: justify;"> <br /></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">Kados pundi gancaring lampahan Bisma Gugur, magga panjenengan kersa ngunduh folder BISMA GUGUR menika, ingkang kabagi alit nembelas file agengipun watawis 29Mb. </span></span></div> <div style="text-align: justify;"> </div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">Halaman download: https://www.mediafire.com/?h6cnkhfrl5idm </span></span></div> <div style="text-align: justify;"> <br /></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">Link download : </span></span></div> <div style="text-align: justify;"> </div> <div style="text-align: justify;"> </div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">1. http://www.mediafire.com/listen/o28mbc6o5t9gzwa/Bisma_Gugur_1A_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">2. http://www.mediafire.com/listen/5ed5iaie6bhifc6/Bisma_Gugur_1B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">3. http://www.mediafire.com/listen/iuy43z6gdt63843/Bisma_Gugur_2A_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">4. http://www.mediafire.com/listen/0t0o60bs8q6jp01/Bisma_Gugur_2B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">5. http://www.mediafire.com/listen/ot13ax6cv1j65rr/Bisma_Gugur_3A_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">6. http://www.mediafire.com/listen/g8gknfgw3a63o2p/Bisma_Gugur_3B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">7. http://www.mediafire.com/listen/q2cedgx6vegah1i/Bisma_Gugur_4A_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">8. http://www.mediafire.com/listen/jcgs5oqwy3piz04/Bisma_Gugur_4B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">9. http://www.mediafire.com/listen/aq99fpqt5af1b7j/Bisma_Gugur_5A_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">10. http://www.mediafire.com/listen/j07a0mnbsx71eqx/Bisma_Gugur_5B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">11. http://www.mediafire.com/listen/j07a0mnbsx71eqx/Bisma_Gugur_5B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">12. http://www.mediafire.com/listen/m7e2ni80po089fi/Bisma_Gugur_6B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">13. http://www.mediafire.com/listen/t4r2fz5y4gq6mbp/Bisma_Gugur_7A_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">14. http://www.mediafire.com/listen/budg2xnve8u8qkc/Bisma_Gugur_7B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">15. http://www.mediafire.com/listen/67djt469dv70o4t/Bisma_Gugur_8A_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <span style="font-family: inherit;"><span style="font-size: small;">16. http://www.mediafire.com/listen/9cy07ad1c0d5p46/Bisma_Gugur_8B_KSSC.mp3 </span></span></div> <div style="text-align: justify;"> <br /></div> <div style="text-align: left;"> <span style="font-family: inherit;"><span style="font-size: small;">link sumber berita: http://maspatikrajadewaku.wordpress.com/2012/04/02/bisma-gugur-ki-sugino-siswocarito/ </span></span></div> <div style="text-align: justify;"> <br /></div> </div> <!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F4.bp.blogspot.com%2F-PFPe9c_crJY%2FU2wL7FIW9xI%2FAAAAAAAAKDw%2Fx7dKuOH6TUc%2Fs1600%2Fimage001.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with 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Bisma Gugur Ki Sugino Siswocarito

Menika pasugatan ringgitan Banyumasan saking Ki Sugino Siswocarito ingkang ngangge “thema” Baratayuda Jayabinangun seri kalih . Sepindhah ...

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AJARAN SYEH SITI JENAR dan KEJAWEN

<div dir="ltr" style="text-align: left;"><h3 class="post-title entry-title" style="text-align: center;"><i><span class="Apple-style-span" style="font-size: x-small; font-weight: normal;">Dalam Memandang Ketuhanan, Dosa/Neraka, Pahala/Surga)</span></i></h3><div class="post-body entry-content"><div align="justify">PERBANDINGAN ANTARA AJARAN SYEH SITI JENAR Dan PANDANGAN KEJAWEN<br /><br /> Mengenai Ketuhanan, Alam, dan Manusia<br /><br /> <br /><br /> <b>Syeh Siti Jenar (Lemah Abang) dalam Mengenal Tuhan</b><br /><br /> <br /><br />   Ajaran Siti Jenar memahami Tuhan sebagai ruh yang tertinggi, ruh <br /> maulana yang utama, yang mulia yang sakti, yang suci tanpa kekurangan. <br /> Itulah Hyang Widhi, ruh maulana yang tinggi dan suci menjelma menjadi <br /> diri manusia.<br /><br /> <br /><br />   Hyang Widhi itu di mana-mana, tidak di langit, tidak di bumi, tidak<br /> di utara atau selatan. Manusia tidak akan menemukan biarpun keliling <br /> dunia. Ruh maulana ada dalam diri manusia karena ruh manusia sebagai <br /> penjelmaan ruh maulana, sebagaimana dirinya yang sama-sama menggunakan <br /> hidup ini dengan indera, jasad yang akan kembali pada asalnya, busuk, <br /> kotor, hancur, tanah. Jika manusia itu mati ruhnya kembali bersatu ke <br /> asalnya, yaitu ruh maulana yang bebas dari segala penderitaan. Lebih <br /> lanjut Siti Jenar mengungkapkan sifat-sifat hakikat ruh manusia adalah <br /> ruh diri manusia yang tidak berubah, tidak berawal, tidak berakhir, <br /> tidak bermula, ruh tidak lupa dan tidak tidur, yang tidak terikat <br /> dengan rangsangan indera yang meliputi jasad manusia.<br /><br /> <br /><br />   Syeh Siti Jenar mengaku bahwa, “aku adalah Allah, Allah adalah <br /> aku”. Lihatlah, Allah ada dalam diriku, aku ada dalam diri Allah. <br /> Pengakuan Siti Jenar bukan bermaksud mengaku-aku dirinya sebagai Tuhan <br /> Allah Sang Pencipta ajali abadi, melainkan kesadarannya tetap teguh <br /> sebagai makhluk yang diciptakan Tuhan. Siti Jenar merasa bahwa dirinya <br /> bersatu dengan “ruh” Tuhan. Memang ada persamaan antara ruh manusia <br /> dengan “ruh” Tuhan atau Zat. Keduanya bersatu di dalam diri manusia. <br /> Persatuan antara ruh Tuhan dengan ruh manusia terbatas pada persatuan <br /> manusia denganNya. Persatuannya merupakan persatuan Zat sifat, ruh <br /> bersatu dengan Zat sifat Tuhan dalam gelombang energi dan frekuensi <br /> yang sama. Inilah prinsip kemanunggalan dalam ajaran tentang <br /> manunggaling kawula Gusti atau jumbuhing kawula Gusti. Bersatunya dua <br /> menjadi satu, atau dwi tunggal. Diumpamakan wiji wonten salebeting wit.<br /><br /> <br /><br /> <b>Pandangan Syeh Lemah Abang Tentang Manusia</b><br /><br /> <br /><br />   Dalam memandang hakikat manusia Siti Jenar membedakan antara jiwa <br /> dan akal. Jiwa merupakan suara hati nurani manusia yang merupakan <br /> ungkapan dari zat Tuhan, maka hati nurani harus ditaati dan dituruti <br /> perintahnya. Jiwa merupakan kehendak Tuhan, juga merupakan penjelmaan <br /> dari Hyang Widdhi (Tuhan) di dalam jiwa, sehingga raga dianggap sebagai<br /> wajah Hyang Widdhi. Jiwa yang berasal dari Tuhan itu mempunyai sifat <br /> zat Tuhan yakni kekal, sesudah manusia raganya mati maka lepaslah jiwa <br /> dari belenggu raganya. Demikian pula akal merupakan kehendak, tetapi <br /> angan-angan dan ingatan yang kebenarannya tidak sepenuhnya dapat <br /> dipercaya, karena selalu berubah-ubah.<br /><br /> <br /><br />   Menurut sabdalangit, perbedaan karakter jiwa dan akal yang bertolak<br /> belakang dalam pandangan Siti Jenar, disebabkan oleh adanya garis <br /> demarkasi yang menjadi pemisah antara sifat hakikat jiwa dan akal-budi.<br /> Jiwa terletak di luar nafsu, sementara akal-budi letaknya berada di <br /> dalam nafsu. Mengenai perbedaan jiwa dan akal, dalam wirayat Saloka <br /> Jati diungkapkan bahwa akal-budi umpama kodhok kinemulan ing leng atau <br /> wit jroning wiji (pohon ada di dalam biji). Sedangkan jiwa umpama <br /> kodhok angemuli ing leng atau wiji jroning wit (biji ada di dalam <br /> pohon).<br /><br /> <br /><br />   Bagi Syeh Siti Jenar, proses timbulnya pengetahuan datang secara <br /> bersamaan dengan munculnya kesadaran subyek terhadap obyek. Maka <br /> pengetahuan mengenai kebenaran Tuhan akan diperoleh seseorang bersama <br /> dengan penyadaran diri orang itu. Jika ingin mengetahui Tuhanmu, <br /> ketahuilah (terlebih dahulu) dirimu sendiri. Syeh Lemah bang percaya <br /> bahwa kebenaran yang diperoleh dari hal-hal di atas ilmu pengetahuan, <br /> mengenai wahyu dan Tuhan bersifat intuitif. Kemampuan intuitif ini ada <br /> bersamaan dengan munculnya kesadaran dalam diri seseorang. <br /><br /> <br /><br /> <b>Pandangan Syeh Lemah Bang Tentang Kehidupan Dunia</b><br /><br /> <br /><br />   Pandangan Syeh Jenar tentang dunia adalah bahwa hidup di dunia ini <br /> sesungguhnya adalah mati. Dikatakan demikian karena hidup di dunia ini <br /> ada surga dan neraka yang tidak bisa ditolak oleh manusia. Manusia yang<br /> mendapatkan surga mereka akan mendapatkan kebahagiaan, ketenangan, <br /> kesenangan. Sebaliknya rasa bingung, kalut, muak, risih, menderita itu <br /> termasuk neraka. Jika manusia hidup mulia, sehat, cukup pangan, <br /> sandang, papan maka ia dalam surga. Tetapi kesenangan atau surga di <br /> dunia ini bersifat sementara atau sekejap saja, karena betapapun juga <br /> manusia dan sarana kehidupannya pasti akan menemui kehancuran.<br /><br /> <br /><br />   Syeh Jenar mengumpamakan bahwa manusia hidup ini sesungguhnya mayat<br /> yang gentayangan untuk mencari pangan pakaian dan papan serta mengejar<br /> kekayaan yang dapat menyenangkan jasmani. Manusia bergembira atas apa <br /> yang ia raih, yang memuaskan dan menyenangkan jiwanya, padahal ia tidak<br /> sadar bahwa semua kesenangan itu akan binasa. Namun begitu manusia <br /> suka sombong dan bangga atas kepemilikan kekayaan, tetapi tidak <br /> menyadari bahwa dirinya adalah bangkai. Manusia justru merasa dirinya <br /> mulia dan bahagia, karena manusia tidak menyadari bahwa harta bendanya <br /> merupakan penggoda manusia yang menyebabkan keterikatannya pada dunia.<br /><br /> <br /><br />   Jika manusia tidak menyadari itu semua, hidup ini sesungguhnya <br /> derita. Pandangan seperti itu menjadikan sikap dan pandangan Siti <br /> Jenar menjadi ekstrim dalam memandang kehidupan dunia. Hidup di dunia <br /> ini adalah mati, tempat baik dan buruk, sakit dan sehat, mujur dan <br /> celaka, bahagia dan sempurna, surga dan neraka, semua bercampur aduk <br /> menjadi satu. Dengan adanya peraturan maka manusia menjadi terbebani <br /> sejak lahir hingga mati. Maka Syeh Siti Jenar sangat menekankan pada <br /> upaya manusia untuk hidup yang abadi agar tahan mengalami hidup di <br /> dunia ini. Siti Jenar kemudian mengajarkan bagaimana mencari kamoksan <br /> (mukswa/mosca) yakni mati sempurna beserta raganya lenyap masuk ke <br /> dalam ruh (warongko manjing curigo). Hidup ini mati, karena mati itu <br /> hidup yang sesungguhnya karena manusia bebas dari segala beban dan <br /> derita. Karena hidup sesudah kematian adalah hidup yang sejati, dan <br /> abadi.<br /><br /> <br /><br /> <br /><br /> <b>Syeh Siti Jenar Mengkritik Ulama dan Para Santrinya</b><br /><br /> <br /><br />   Alasan yang mendasari mengapa Syeh Siti Jenar mengkritik <br /> habis-habisan para ulama dan santrinya karena dalam kacamata Syeh Siti, <br /> mereka hanya berkutat pada amalan syariat (sembah raga). Padahal masih <br /> banyak tugas manusia yang lebih utama harus dilakukan untuk mencapai <br /> tataran kemuliaan yang sejati. Dogma-dogma, dan ketakutan neraka serta <br /> bujuk rayu surga justru membelenggu raga, akal budi, dan jiwa manusia. <br /> Maka manusia menjadi terkungkung rutinitas lalu lupa akan tugas-tugas <br /> beratnya. Manusia demikian menjadi gagal dalam upaya menemukan Tuhannya.<br /> <br /><br /> <br /><br /> <br /><br /> <b>Kritik Syeh Lemah Bang Atas Konsep Surga-Neraka</b><br /><br /> <br /><br />   Konsep surga-neraka dalam ajaran Siti Jenar berbeda sekali dengan <br /> apa yang diajarkan oleh para ulama. Menurut Syeh Siti Jenar, surga dan <br /> neraka adalah dalam hidup ini. Sementara para ulama mengajarkan surga <br /> dan neraka merupakan balasan yang diberikan kepada manusia atas amalnya <br /> yang bakal diterima kelak sesudah kematian (akherat).<br /><br /> <br /><br />   Menurut Syeh Siti, orang mukmin telah keliru karena mengerjakan <br /> shalat jungkir balik, mengharap-harap surga, sedang surga sesudah <br /> kematian itu tidak ada, shalat itu tidak perlu dan orang tidak perlu <br /> mengajak orang lain untuk shalat. Shalat minta apa, minta rizki ? Tuhan<br /> toh tidak memberi lantaran shalat.<br /><br /> <br /><br />   Santri yang menjual ilmu dengan siapa pun mau menyembah Tuhan di <br /> masjid, di dalamnya terdapat Tuhan yang bohong. Para ulama telah <br /> menyesatkan manusia dengan menipu mereka jungkir balik lima kali, pagi,<br /> siang, sore, malam hanya untuk memohon-mohon imbalan surga kelak. <br /> Sehingga orang banyak tergiur oleh omongan palsunya, dan orang menjadi <br /> gelisah tak enak ketika terlambat mengerjakan shalat. Orang seperti itu<br /> sungguh bodoh dan tak tau diri, jikalau pun seseorang menyadari bahwa <br /> shalat itu dilakukan karena merupakan kebutuhan diri manusia sendiri <br /> untuk menyembah Tuhannya, manusia ternyata tidak menyadari <br /> keserakahannya; dengan minta-minta imbalan/hadiah surga. Orang-orang <br /> telah terbius oleh para ulama, sehingga mereka suka berzikir, dan <br /> disibukkan oleh kegiatan menghitung-hitung pahalanya tiap hari. <br /> Sebaliknya, lupa bahwa sejatinya kebaikan itu harus diimplementasikan <br /> kepada sesama (habluminannas).<br /><br /> <br /><br />   Lebih lanjut Syekh Siti Jenar menuduh para ulama dan murid mereka <br /> sebagai orang dungu dan dangkal ilmu, karena menafsirkan surga sebagai <br /> balasan yang nanti diterima di akhirat. Penafsiran demikian adalah <br /> penafsiran yang sangat sempit. Hidup para ulama adalah hidup asal <br /> hidup, tidak mengerti hakekat, tetapi jika disuruh mati mereka menolak <br /> mentah-mentah. Surga dan neraka letaknya pada manusia masing-masing. <br /> Orang bergelimang harta, hidupnya merasa selalu terancam oleh para <br /> pesaing bisnisnya, tidur tak nyeyak, makan tak enak, jalan pun gelisah,<br /> itulah neraka. Sebaliknya, seorang petani di lereng gunung terpencil, <br /> hasil bercocok tanam cukup untuk makan sekeluarga, menempati rumah <br /> kecil yang tenang, tiap sore dapat duduk bersantai di halaman rumah <br /> sambil memandang hamparan sawah hijau menghampar, hatinya sesejuk <br /> udaranya, tenang jiwanya, itulah surga. Kehidupan ini telah memberi <br /> manusia mana surga mana neraka.<br /><br /> <br /><br />   Syeh Siti Jenar memandang alam semesta sebagai makrokosmos dan <br /> mikrokosmos (manusia) sekurangnya kedua hal ini merupakan barang baru <br /> ciptaan Tuhan yang sama-sama akan mengalami kerusakan, tidak kekal dan <br /> tidak abadi. Manusia terdiri atas jiwa dan raga yang intinya ialah <br /> jiwa sebagai penjelmaan zat Tuhan.<br /><br /> <br /><br />   Sedangkan raga adalah bentuk luar dari jiwa yang dilengkapi <br /> pancaindera, sebagai organ tubuh seperti daging, otot, darah, dan <br /> tulang. Semua aspek keragaan atau ketubuhan adalah barang pinjaman yang<br /> suatu saat, setelah manusia terlepas dari kematian di dunia ini, akan <br /> kembali berubah asalnya yaitu unsur bumi (tanah).<br /><br /> <br /><br /> Syeh Lemah Bang, mengatakan bahwa;<br /><br />      “Bukan kehendak angan-angan, bukan ingatan, pikiran atau niat, hawa<br /> nafsu pun bukan, bukan pula kekosongan atau kehampaan. Penampilanku <br /> sebagai mayat baru, andai menjadi gusti jasadku dapat busuk bercampur <br /> debu, nafasku terhembus di segala penjuru dunia, tanah, api, air, <br /> kembali sebagai asalnya, yaitu kembali menjadi baru. Bumi langit dan <br /> sebagainya adalah kepunyaan seluruh manusia, manusialah yang memberi <br /> nama”.<br /><br /> <br /><br />  <b>Kesimpulan</b><br /><br /> <br /><br />   Pandangan Syeh Lemah Bang; tentang terlepasnya manusia dari <br /> belenggu alam kematian yakni hidup di alam dunia ini, berawal dari <br /> konsepnya tentang ketuhanan, manusia dan alam. Manusia adalah jelmaan <br /> zat Tuhan. Hubungan jiwa dari Tuhan dan raga, berakhir sesudah manusia<br /> menemui ajal atau kematian duniawi. Sesudah itu manusia bisa manunggal<br /> dengan Tuhan dalam keabadian. Pada saat itu semua bentuk badan wadag <br /> (jasad) atau kebutuhan jasmanisah ditinggal karena jasad merupakan <br /> barang baru (hawadist) yang dikenai kerusakan dan semacam barang <br /> pinjaman yang harus dikembalikan kepada yang punya yaitu Tuhan sendiri.<br /><br /> <br /><br />   Terlepas dari ajaran Siti Jenar yang sangat ekstrim memandang dunia<br /> sebagai bentuk penderitaan total yang harus segera ditinggalkan <br /> rupanya terinspirasi oleh ajaran seorang sufi dari Bagdad, Hussein Ibnu<br /> Al Hallaj, yang menolak segala kehidupan dunia. Hal ini berbeda dengan<br /> konsep Islam secara umum yang memadang hidup di dunia sebagai khalifah<br /> Tuhan.<br /><br /> <br /><br /> <br /><br /> <b>Pandangan Kejawen Tentang Kehidupan di Dunia</b><br /><br /> <br /><br /> Pandangan Kejawen tentang makna hidup manusia dunia ditampilkan secara<br /> rinci, realistis, logis dan mengena di dalam hati nurani; bahwa hidup <br /> ini diumpamakan hanya sekedar mampir ngombe, mampir minum, hidup dalam <br /> waktu sekejab, dibanding kelak hidup di alam keabadian setelah raga ini<br /> mati. Tetapi tugas manusia sungguh berat, karena jasad adalah pinjaman<br /> Tuhan. Tuhan meminjamkan raga kepada ruh, tetapi ruh harus <br /> mempertanggungjawabkan “barang” pinjamannya itu. Pada awalnya Tuhan Yang<br /> Mahasuci meminjamkan jasad kepada ruh dalam keadaan suci, apabila <br /> waktu “kontrak” peminjaman sudah habis, maka ruh diminta <br /> tanggungjawabnya, ruh harus mengembalikan jasad pinjamannya dalam <br /> keadaan yang suci seperti semula. Ruh dengan jasadnya diijinkan Tuhan <br /> “turun” ke bumi, tetapi dibebani tugas yakni menjaga barang pinjaman <br /> tersebut agar dalam kondisi baik dan suci setelah kembali kepada <br /> pemiliknya, yakni Gusti Ingkang Akaryo Jagad. Ruh dan jasad menyatu <br /> dalam wujud yang dinamakan manusia. Tempat untuk mengekspresikan dan <br /> mengartikulasikan diri manusia adalah tempat pinjaman Tuhan juga yang <br /> dinamakan bumi berikut segala macam isinya; atau mercapada. Karena bumi<br /> bersifat “pinjaman” Tuhan, maka bumi juga bersifat tidak kekal.<br /><br /> <br /><br /> Betapa Maha Pemurahnya Tuhan itu, bersedia meminjamkan jasad, berikut <br /> tempat tinggal dan segala isinya menjadi fasilitas manusia boleh <br /> digunakan secara gratis. Tuhan hanya menuntut tanggungjawab manusia <br /> saja, agar supaya menjaga semua barang pinjaman Tuhan tersebut, serta <br /> manusia diperbolehkan memanfaatkan semua fasilitas yang Tuhan sediakan <br /> dengan cara tidak merusak barang pinjaman dan semua fasilitasnya.<br /><br /> <br /><br /> Itulah tanggungjawab manusia yang sesungguhnya hidup di dunia ini; <br /> yakni menjaga barang “titipan” atau “pinjaman”, serta boleh <br /> memanfaatkan semua fasilitas yang disediakan Tuhan untuk manusia dengan<br /> tanpa merusak, dan tentu saja menjaganya agar tetap utuh, tidak rusak,<br /> dan kembali seperti semula dalam keadaan suci. Itulah “perjanjian” <br /> gaib antara Tuhan dengan manusia makhlukNya. Untuk menjaga klausul <br /> perjanjian tetap dapat terlaksana, maka Tuhan membuat rumus atau <br /> “aturan-main“ yang harus dilaksanakan oleh pihak peminjam yakni <br /> manusia. Rumus Tuhan ini yang disebut pula sebagai kodrat Tuhan; <br /> berbentuk hukum sebab-akibat. Pengingkaran atas isi atau “klausul <br /> kontrak” tersebut berupa akibat sebagai konsekuensi logisnya. Misalnya;<br /> keburukan akan berbuah keburukan, kebaikan akan berbuah kebaikan pula.<br /> Barang siapa menanam, maka mengetam. Perbuatan suka memudahkan akan <br /> berbuah sering dimudahkan. Suka mempersulit akan berbuah sering <br /> dipersulit. </div></div></div>

AJARAN SYEH SITI JENAR dan KEJAWEN

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