Obituary - Don't Care

ETIQUETTE AND CUSTOMS
People Communicate Not Only With Their Words But Also With Their Bodies. In Indonesia, As In The Rest Of The Muslim World, The Left Hand Is Used For Personal Sanitary Functions And Is Therefore Considered Unclean. It Is Offensive To Give Or Receive Things, Particularly Food Or Money, With The Left Hand. To Strict Muslims, Dogs Are Also Unclean So That Most Indonesians Are Acutely Uncomfortable Around Them. Pointing Is Rude Here Too. One Does Not Point At Other People With The Finger. If A Pointing Is Used, It Is Usually The Thumb. To Point One’s Toes At Another Is Also Impolite. Therefore, Take Care When You Cross Your Legs. To Japanese At Least, Putting One’s Hand Or Hands On The Hips Is A Sign Of Arrogance Or Hostility. In Traditional Javanese Culture, A Lesser Person Does Not Have His Head Above That Of A More Senior Person, Which Has Given Rise To The Javanese Habit Of Ducking Their Heads As They Greet People And Walking Stopped Over Through A Room With Other People In It. If You See A Customs Official Or Policeman Waving At You, He May Actually Be Motioning You To Come Over. Instead Of A Crooked Finger Motion Toward The Body To Indicate “Come Here” The Indonesian Uses A Waving Motion Away From The Body. A Jakarta Custom, Partially Adopted From The Dutch, Is Top Shake Hands With Everyone In The Room When Arriving And Leaving A Gathering. When Meeting A Person For The First Time, Say Your Name. If You Listen Carefully, You Will Hear His. The Area Of Empty Space Each Around Him Is Much Smaller Than That Necessary For An American Or Northern European To Feel Physically Or Psychically Comfortable. This Is A “Touching Culture” With Much Acceptable Casual Body Contact. Therefore, There Is Always Room For Two On A Chair Or For One More Person On A Bench Or In A Bus. While Much Touching Is Acceptable, Do Not Pat People On The Top Of The Head. Indonesians Do Not Hit Or Spank Children But Rather Use A Strong Pinch. They Also Often Pinch Children, Not Always Lightly, As A Sign Of Pleasure. This Is Not Usually Easy For Western Children To Accept Gracefully. Indonesians Are Generally Not Comfortable Alone And Will Often Take A Friend Along On Errands. They Do Not Like To Sleep Alone In A Room At Night And Prefer Sleeping With The Lights On And Windows Shut. There Is A General Concern About Drafts, Breezes And Electric Fans For Fear Of Catching Cold ( Masuk Angin ). So Keep This In Mind When Seating Indonesian Guests.
TIME
Time Is Viewed Cyclically Rather Than Sequentially And The Relationship Of Actions In Time Is Relatively Unimportant. Nor Does One Tempt The Future By Planning Too Far Into It. This, Along With Unwillingness To Cause Displeasure, Is One Of The Reasons That Invitations Are Not Always Answered. Things Often Happen When They Happen, Particularly In Bali. Without Reference To The Clock. The Expression Jam Karet (Rubber Time) Is Widely Used To Mean Flexible Attitude Toward Punctuality. Most Westernized Social Events In Jakarta Do Start On Time, However. Particular Days Or Months Can Be Auspicious As They Occur In The Muslim, Javanese, Balinese Or Other Calendar Systems.
EATING AND DRINKING
Eating Is Not Necessarily A Communal Action In Indonesian Homes. Food May Be Put On The Table To Be Eaten When The Individual Is Hungry. Indonesian Foods Does Not Need To Be Served Stove Hot. In Places Where Fingers Are Used, Only The Fingers Of The Right Hand Are Employed, As The Left Hand Is Unclean. When Someone Comes To Your House, Even Uninvited, It Is Polite To Serve Something To Eat As Well As Drink. After They Have Been Served, Always Remember To Ask Your Indonesian Guests Verbally To Eat And Drink Because They Will Not Begin Until You Do. In Indonesian Homes Or Offices, The Drink Will Be Placed In Front Of Or Near You Rather Than Put Into Your Hand, Do Not Drink Or Eat Until Asked (Mari Silahkan Minum- “Let’s Drink” Or Just – Silahkan) Often Coffee Or Tea Brought Steaming Will Be Allowed To Cool As The Conversation Continues And Will Be Verbally Offered Late In A Meeting, After Which It Should Be Drunk Fairly Quickly And The Meeting Is At An End. A Completely Emptied Glass Indicates Need Of More, So Leave A Little.
CALLING
Just As Westerners Do People Honor By Asking Them To Their Homes, Indonesians Do People Honor By Going To Call Upon Them. As You Meet Indonesians With Whom You Would Like To Become Friends, Invite Them For A Meal Or Drink, That Is, After All, Our Way, But To Put Relationship On A Personal Reciprocal Basis, Also Call On Them. You Do Not Have To Wait To Be Invited, Although Some Notice Of Your Intention To Visit Would Undoubtedly Be Appreciated. After 5:30 In The Evening Is A Good Time To Go Visiting. Visiting Can Be A family Affair With The Children Taken Along. There Are Several Instances When By Indonesian Custom You Are Expected To Call. When You First Move Into A Neighborhood, At Least The Man Of The Household Should Call On The Other Families In The Street To Introduce Himself. Most Neighborhood Are Organized Into Rukun Tetangga ( RT ) Or Neighborhood Associations. It Is Polite To Inquire Who Is The Headman (Ketua RT) And To Introduce Your Self To Him. Making Lebaran Calls Is A Good Way Of Observing Indonesian Custom With Your Muslim Friends. ( Not All Indonesians Are Muslims, Although Most Of Them Are ) Lebaran. The Feast Which Marks The End Of The Fasting Month Of Ramadhan, Is The Traditional Time For Going To One’s Elders And Friends To Beg Forgiveness For Offences, Both Intentional And Unintentional (Maaf Lahir Dan Batin). Indonesians Start The First Day Of The Holiday At The Mosque And Then Gather At The Home Of The Eldest Relative For A Family Meal. They Must Call On All Their Older Relatives And Are In Turn Calle4d On By The Even More Junior Family Members. Calls Are Also Made Upon Superiors At Work And Older Friends. Foreigners Can Take This Opportunity To Call On Their Friends, Starting On The Lebaran Days And Continuing During The Week Or So After, To Wish Them The Joys Of The Season (Selamat Idul Fitri). This Is Also An Appropriate Time To Send Cards, Gifts, ( Cakes, Candy Or What Have You ) Or Flowers. Christmas And New Year Are The Time To Call On And Send Gifts To Christian Friends. The Foreigner Can Expect To Be Called On And To Receive Cards And Gifts, Whether He Is A Christian Or Not. Some, But Not All, Of Your Chinese Friends Will Observe Chinese New Year. A Visit And / Or Gift Is Appropriate.
SPECIAL OCCASIONS
Entertaining For Most Indonesians Is Reserved For The Ceremonial Occasions Which Mark The Progress Of Peoples Lives.
Marriage - Marriage Customs Vary From Suku (Ethnic Group) To Suku You Are Most Likely To Be Included In A Formal Public Reception. Dress Well ( Coat And Tie For Man ) And Take A Gift To The Reception Rather Than Sending It To The House Beforehand. Once You Have Arrived At The Hall, The Gift Is Left With The Attendants At The Door, And A Guest Book Is Signed. In Some Cases, You Proceed Directly To Greet The Bride And Groom And Their Families And Then To Help Yourself To Food And Drink, While In Other Cases, You Will Be Seated Upon Arrival And Speeches Will Be Made Both In Honor Of The Bride And Groom And Thanking Friends For Their Attendance. Then, Everyone Lines Up To Greet The Bride And Groom And Their Parents, Later Each Helps Himself To Food. After Eating, Guests Either Sit Around And Talk With Friends Or Say Good Bye And Leave.
Usually, The Wedding Ceremony Itself It Held In The Bride’s Home. If You Are Invited Here As Well As To The Reception, This Is The Time To Bring Your Gift. Custom Varies Considerably: In Some Homes, Men And Women Are Separated And Shoes Are Left At The Door. In Other Less Traditional, Or Less Strictly Muslim Homes, This Is Not Necessarily Done. In Any Case, You Will Be Shown Where To Sit. After The Various Ceremonies, Which Vary Greatly From Group To Group, One Greets To The Couple And The Parents And Eats A Meal. Weddings Are Family Affairs And Children Are Welcome.
Ceremonial Bathing Of The Bride, And Sometimes Of The Groom Although Not Usually At The Same House, Can Be One Of The Ceremonies Of The Day Proceeding The Wedding. This Event Is For Women Only. The Bathing Is Done By Older Married Women With Healthy Living Children. An Invitation To Attend Such A Ceremony Is Generally Extended To Relatives And Close Friends Only And May Or May Not Involve A Meal, Although, As In Any Time You Visit An Indonesian Home, You Will Certainly Be Served Something.

BALI ISLAND OF PARADISE
Bali is famous for the charm and grace of its people, the beauty of its scenery, and the sophisticated artistry of a distinctively indonesian hindu civilization, variations of which once flourished over large areas of java and portions of the other islands, but which now is found primary in bali. Almost everyday of the year there are festivals and dances somewhere in bali. Travel agents and hotels managers can supply information about specific events occurring during any given period. The balinese calendar is different from the western one, so major festivals change from one month to another. Sightseeing in bali is fully covered in star black’s excellent guide to bali, widely available in jakarta and bali.
HOW TO GET THERE
Bali is a one hour 20 minutes jet flight from Jakarta, Garuda Airways operates daily flights; the island is also serviced by several international carriers. Traveling to bali by car through java is an interesting 3 to 5 days trip a car ferry crosses between Banyuwangi in east java and Gilimanuk in bali ( see Banyuwangi above ). One can also go by train from Jakarta to Surabaya, there is express bus service from Surabaya to Denpasar. Regular flights also connect the two cities.
HOTELS IN BALI
Sanur beach, hotel bali beach, hyatt hotel, sanur beach hotel, segara village, tanjung sari, sindu beach, narmada, santrian, gazebo cottages, sunset beach bungalows, kuta beach hotel, kartika plaza.
SHOPPING
Bali is geared to the western tourist, most prices will be quoted in dollars and may seem absolute, but bargaining is the accepted way of life. Except in established tourist shops, a few minutes spent in bargaining will usually obtain a 20 to 30 percent reduction in the price.
Everyone has something to sell, generally, woodcarving and other Handicrafts hawked on the beach or outside the shops are not of the quality you would want for a first class souvenir. Visit the Sanggraha Kriya Asta ( Government Handicraft Center ) on a road to Ubud, 10 minutes from Denpasar.

HANDICRAFTS AND THE ARTS
Indonesia, rich in tradition, raw materials and skilled craftsmen has a treasury of handicrafts both old and new. Due to its position along the international trade routes, the archipelago has felt the influence of many cultures, the earliest and most enduring of which came from india.
The Hindu religion, brought by the Indian traders, introduced sophisticated temple architecture, the craft of puppetry, and contributed much to the arts of stone carving, and gold, silver and bronze work. Some historians believe that batik was also introduced by the Indians.
Chinese tradition is dramatically evident in batik designs, furniture and metalwork; and early Chinese migrants may have brought the first bladed weapons to Indonesia. The much later arrival of the Portuguese and the Dutch contributed to the art of wood carving, metalwork and furniture making. Receptive to the new ideas, Indonesian craftsmen elaborated upon them, and perfected their skills to rise the level of their “new” crafts to even higher planes than those of the original ones. Unfortunately, many of these skills have died with their craftsmen, and more are disappearing all the time. However, new crafts, such as carpet making and rattan (rotan) work, are replacing the old as the need for them develops. Most handicrafts producers, and even many of the tukang who will come to your door, are willing to try new designs suggested by prospective customers. There are now two locations in Jakarta where one can see exhibits of most of the handicrafts described in this section : Sarinah Departement Store, jl, Thamrin 11 (3rd floor devoted entirely to handicrafts); and the Jakarta Handicrafts Building ( organized by the industrial Departement of the city Government ) jl. Gatot Subroto kav. No. 8 also see shops and Services section.
BATIKS
The traditional cloth of java, batik, is produced by a complex process of waxing and dyeing, and is characterized by extremely intricate patterns. ( the “tik” in batik means a little bit, a little dot or a drop ) the oldest batik was one color only, an elegant indigo blue pattern on an unbleached background. Later came combinations of white, indigo and brown, ( still natural dyes ) applied to a rough, homespun-like cotton cloth. As trade with Japan and the western world developed, so did the art of batik making, for finer cloth and more stable textiles dyes enabled the artisans to try new techniques and more elaborate designs.
A worker ( usually women ), using the traditional method of preparation, first washes her cloth and dips it in castor oil to preserve the color. She then removes the excess oil, starches the cloth and pounds it to soften the fibers. Only then is she ready to hang the cloth over a frame and begin waxing. Holding the cloth in her left hand, she dips her canting ( a small sheet-copper reservoir with one or more spouts ) into hot wax, a composition of bee’s wax, paraffin and resin; and begin to trace the outlines of her design. When waxing is completed on one side of the cloth she turns it over and retraces the design on the other side, making sure that every part of the design is covered with wax. Depending on the intricacy of the design, waxing may take a number of days.
Today, to shorten the process the hot wax can be applied with a canting cap, a hand-held stencil-like device, whose designs are formed by tiny, intricately and beautifully shaped strips and wires of copper. (used caps may be bought in most batik factories for interesting home decorations ) the cap is dipped into the molten wax and the design printed and reprinted onto the material. Dyeing, which is usually done by man, is equally painstaking work. If more than one color is planned, after dyeing the batik is returned for rewaxing. The first layer of wax is removed either by boiling the cloth, if all the wax is to be removed, or by sponging individual areas with hot water, or by judicious scraping. The remainder of the design is added on the second waxing, areas to remain the first color are waxed over, and the batik is returned to the dyer a second time. A hand-drawn batik usually takes at least a month to complete, and sometimes an intricate design may take as long as a year. There are two main groups of design patterns used in classical Javanese batik, geometric and free from designs. The geometric group may be subdivided thus: banji-taken from the swastika, meaning good fortune: caplok-a geometrical pattern of squares or circles formed from rosettes, stars or crosses, with animal or flower designs filling in the middle of the squares or circles: kawang-consisting of groups of four oval or elliptical shapes: nitik - imitating the texture or weave of fabric: and garis miring-consisting of diagonal stripes, the best-known being parang, which in some areas was reserved for nobility. The non-geometric group includes: semen-leaves, flowers,animals, garuda wings, etc: luk chan-those in which Chinese influence is clear ; and Cirebon-depicting landscapes of mountains, clouds, fish ponds and ornamental gardens, also showing strong Chinese influence. There are hundreds of others, but these are among the most easily recognized.
Ordinary pieces of batik are kain panjang, the wrapped skirt cloth : kain slendang. The long breast cloth worn by women; and kain kepala, the square headpiece, folded like a turban. The sarong, a piece of material sewn in a cylindrical shape, is more frequently worn in western java, primaliry by men. There are three main kinds of batik, the main distinguishing factor being the quality of the cloth on which it is done. The best is primissima, which is hand done on finely woven cotton. Prima is also hand done on fine cotton, and both measure 2 ½ meters in length. Biru is done by cap and is slightly shorter, measuring 2 ¼ meters. Often a thin blue line is woven into the margin of biru to show it is of a quality for dresses and shirts. A fourth type, rather rough in quality, is made in Jakarta entirely by machine. When buying batik, check for the softness of the material, the waxy smell, and be sure the colors are the same intensity on both sides. If they are not, the piece is of an inferior quality.
Another type of Javanese cloth is lurik, a coarse cotton homespun. Its use was formerly limited to men’s jackets in central java, but it is rapidly becoming popular in the form of designer-created upholstery, material. Realizing that the 2 12 meter length sarong has limited potential in the rapidly growing western market, batik makers have begun producing yard goods.
The mountainous area of south Sulawesi has long been famous for its silk weaving industry. The women raise their own silk worms as well as reel, dye, weave and sell their product: silk sarongs. It is estimated that there are at least 100.000 backstrap looms in the area on which the women weave pieces 70 cm. wide and 2 meters long. The designs range from fine colorful plaids to intricate tie-dyes ( ikat ). Some are even brocaded. Each design is traditional to its own district. The beautiful gold-brocaded sonket from Sumatra is usually done on richly-colored cotton or silk. Padang and Palembang produce the heavy gold thread appliqué, sulam, formerly done on silk and fine-woven cotton, but now done on rayon satin. Some pieces are further embellished with sequins or bit of glass held in place with gold thread appliqué. Two to three week’s work, plus fine and costly materials, are necessary to produce each piece. Use is mainly limited to weddings and feast days. Sulam may be found in the form of lavishly decorated kains, wedding pillows and wedding dais or canopies. It is with pride that especially fine pieces are handed down from one family generation to another. The Batak peoples of northern Sumatra have their own distinctive cloth which is brocaded in white on black and often includes mottos in their own language and beads strung on the woof threads in the middle of the pieces.
JEWELRY AND GEM STONES
The jewelry of Indonesia is as rich and as varied as its history and its culture. As with the other crafts, jewelry making developed in the palaces and it was worn as an intrinsic part of the ceremonies and dances. In Java and Sumatra jewelry was worn only at weddings of the princes and princesses. As all dancers dressed as royal brides, they wore the jewelry for dance performances. In the kratons the pieces were made of real gold and silver, but for dancers outside, they were of a cheaper gold-dipped metal. Each court had its own style of jewelry. In the Padang area of Sumatra, there are very light necklaces, pendants, bracelets and hair ornaments- small pieces attached to a spring-made of a light metal and then dipped in gold. They are quite fragile as they are intended only for ceremonies. In the courts of Java, the dancers wore magnificent gold and silver jewelry, with glitterring tiara-like head pieces. Some of the jewelry still in the possession of the kratons dates back to the 14th century Majapahit kingdom. These pieces are of heavy gold inlaid with diamonds and rubies. Craftsmen in bali make silver-filigree jewelry which is sometimes gold-dipped. A technique called granulation is sometimes employed in which small pellets of metal are heated until they are soft enough to adhere to the base. Pleasing modern designs are now being made. Filigree is also done in South Sulawesi, where it is called Kediri. The technique was learned from the Chinese.
There is little jewelry of precious metal in areas where the culture was less developed. The Batak people of northern Sumatra wore warrior belts made of silver pieces on a cord string, and like the dyaks of Kalimantan, used imported glass beads in necklaces. The dyaks wore necklaces of small woods statues about 5 cm. in Tanah Toraja dance costumes were decorated with old coins and small glass beads imported from china. In other areas jewelry is made from sea shells, seeds, tortoise shell and black coral.
Precious stone have long been used in Indonesian jewelry and the art of cutting them was advanced through the Indian influence. Many types of semi-precious stones are found throughout the archipelago. Diamonds are found near Kalimantan, an estimated 12 ½ to 15% of which are of gem quality, in spite of often having a yellowish or greenish cast. Opals are found in some parts of west Java. They are similar to Mexican opals : soft, porous and easily cracked. All opals should be stored in a humid, moist atmosphere to prevent their drying out. They should never be submitted to soaps or detergents, as their porous structure is absorbant and will become discolored. A 6-month guarantee must accompany opals for sale on the international market.
Members of the quartz family such as topaz, amethyst, smoky quartz and agate may be found in the Kalimantan area. There are many beliefs about the agates. Some are bought and worn for their beauty, some for their healing powers, some for bringing good fortune. One of the beliefs is that a cracked stone will bring bad luck; therefore it is never given to anyone.
Most of the gems are “mined” by the local population, digging with simple tools. The aspiring gem collector will find that mountains, beaches and newly cut roads are good hunting areas. Before removing stones, check with local residents for permission. Some compensation may be necessary for certain talismanic stones.
Agate : south Central Java, East Kalimantan and South Kalimantan.
Amethyst : east Java, South Central Java, Kalimantan.
Citrine : Kalimantan
Coral ( black petrified ) : black, taken from below 40 ft in Thousand Island and Sunda Strait. Petrified coral west Java and East Kalimantan.
Jade : (Indonesian green obsidian) Cikotok, Southwest Java
Jasper (red, yellow, blue) : same as agate but more widely dispersed. Sukabumi mountains.
Moonstone : same as agate
Onyx : (black, red) black, rare, red, Central Java.
Opal : Kaliwaja River in West Java, Banten West Java.
Petrified wood : common over much of West Java, Pacitan area of Central Java.
Quartz : (smoky, clear) Kalimantan
Robin stone : ( local name, probably star ruby ) Kalimantan
Tektite : uncommon. At Sangiran Dome, north of Solo, Billiton ( Belitung ) island; and near Martapura, South Kalimantan
Tiger Eye : Kalimantan
Topaz : Kalimantan
Tourmaline (black) : Natuna Island.
THE KERIS
Little is known about the antiquity of the keris, but many authorities believe that the first krisses were forged in the 13th century as simple weapons with which a man could defend himself or kill his enemies. Even in early times it was thought that the kris must posses supernatural powers to enable the owner to kill a person, for he was after all, sending him on his journey from this life to life after death. Each kris and the stories of the valorous deeds it had Performed, were passed down from father to son to grandson, and it came to be regarded as pusaka, a revered heirloom.
Gold-encrusted design adorn the blade, always double – edged, which may be curved or straight. Both represent the naga, the snake, if the blade is straight, the snake is depicted in a state of repose and contemplation, if curved, it is thought to be in motion. Even the modern Javanese man may believe that he will enhance the mystical power of his kris by bringing the blade into contact with the entrails and brain of a snake. Other mythological figures sometimes appear in the design as well. The blade is made of ordinary iron and nickelous (meteoric) iron by an intricate process called pamor work. The best nickelous iron originally came from several meteorites found in Java. Traditionally believed to have been sent as a gift from God to the keris makers. At a certain stage the metal is treated with arsenic or acetone, which affects only the nickel steel, bringing the design to light.
According to the keris lovers Association of Surakarta, a keris has value if it is : old, intact and in good condition, the origin is clear, powerful and in spiritual harmony with its owner.
Before one accepts a kris he should sleep with it unsheathed under his pillow for at least one night. The dreams that come to him should be interpreted by a guru (teacher), who can judge whether or not the kris and the person are in spiritual harmony. If not, it should be returned to its original owner, or thrown into a river in the hope that the river will carry it to the sea.
LEATHER
Parchment wayang kulit (leather puppets) has been traced back 500 years. Although today the handles are often made of wood instead of carved horn, they are still basically the same : the dramatis personae hand – punched in a lacy style, then further decorated with gold and other brightly colored paints. The small wayang kulit are made of sheep or goatskin ; the larger ones of cow or buffalo hide. In recent years, shoe factories have begun to develop and thrive, producing a vast range of styles from natural leather sandals to modern western shoe fashions. The leathers used, kidskin and calfskin, are mostly from local animals. Yogyakarta is the site of the institute for leather, which although primarily for research, has a few samples of leather crafts for sale. Beautiful hand-tooled bags and suitcases are also made in this area. Jakarta has a “farm” ( jl. Bandengan utara ) which raises alligators and small crocodiles for export. Some Indonesians enjoy the sport (and financial benefits) of catching large lizards and snakes, which are then sold. Stuffed and mounted for sale in curio shops, or transformed into purses, shoes and belts.
MATS AND RUGS
Plaited and woven mats have long been used in Indonesian homes. Recently the craft of making pandan and sisal rugs has been introduced. Both sisal and pandan fibers are well-suited to tropical climate. They are lightweight, thus easy to maneuver for airing and cleaning. Both fibers wear well in the humidity and can take steady traffic, although some manufacturers claim that sisal (also called sisal hemp) wear longer. Sisal fibers, yielded by the agave plant, dye well and can be seen in a variety of bright, true colors suitable to any decorating need.
Pandan fibers, from the pandanus plant of the screw pine family, do not take dyes readily. Thus, pandan carpets appear mainly in their natural, straw beige shade. Because pandan is more limited in its decorative use, it is less than half the price of sisal. The long leaf of the pandan is harvested, split along the central vein into a thin strip, which is then left to dry. These strips are plaited into long flat “braids”, which are shaped into squares, circles or ovals by winding them around nails driven into a board in the desired pattern. When the pattern has been achieved, the plaits are hand sewn in position. These pieces are then sewn together to make mats. Many small producers can be found along the new road to Bogor, although the quality of their product varies considerably, and selections should be made with care. Many of them will also make special-order mats in your size, shape, design and color specifications.
The tukang who sell baskets and brooms also sell very serviceable coconut fiber matting for door mats. Indonesia now has two factories producing hand-made wool rugs : P.P. Dobbe and Son in Bogor, which uses mostly local wool; and tai ping factory on the outskirts of Jakarta, which uses only imported wool both factories will make special-order carpet.
METALS
Metal working is an old and sometimes mysterious craft. One technique, used for the making of weapons, buckles and horse-bit in the kratons of Yogyakarta and Solo, is damasquine. This is the inlay of silver or gold into steel to form intricate patterns. Another technique, pomar, is used for keris making. The metal known as Bangka tin was originally used for small discs in the decoration of cloths in southern Sumatra and as an additive to bronze. The Dutch introduced a new use at the beginning of this century- the makings of goblets, tea services, candlesticks etc. the alloy used is mostly tin with a little silver, but the composition varies, with less reputable dealers adding large proportions of lead. Before buying, check for trademark ( especially on those items to be used for food or drink ). As the presence of one is often an indication of the quality of the alloy used. The alloy is smelted into sheets which are then handcrafted into these decorative and useful items. Unlike pewter, which has a higher percentage of lead and silver, Bangka tin does not tarnish and may be kept clean with the use of a non-abrasive toothpaste.
The chief Indonesian centers of gold and silver work are Java and Bali. The distinctive style of Yogyakarta silver is produced by punching the design into the silver from the inside, thus forming a pattern in relief. The craftsman today use modern design for goblets, tableware, tea services etc. also from Yogyakarta come the fine ornamental carriages, becaks and ships made in silver. The Balinese also produce silverware of this kind. Silver filigree work is also done in South Sulawesi. The most beautiful brass comes from Padang, South Sulawesi and Negara in South Borneo but it can be found throughout the archipelago. Most of it is produced by the lost-wax method : only the redder type used for cooking utensils is molded. One can find beautiful sirih sets, bells, rings, platters and spittoons. Juana, in Central Java, is noted for the high quality of its brass door locks, door and window handles, plumbing taps and weights.
Bronze is worked only in Java, mainly in the crafting of gamelan instruments.
The Indonesian government owns a smelter. Logam mulia, JL.Gajah Mada 84 jakarta, where the base metals are smelted from the ores, refined, and alloyed with other metals. Gold can be bought at Logam Mulia in 100 gram bars, one-half kilogram bars, and in one-kilogram bars.
MUSICAL INSTRUMENTS
Indonesian music is part of the Southeast Asia cultural entirety. Newcomers to the archipelago will be charmed by a unique type of orchestral music called gamelan. Found mainly in the South of Indonesia on the island of Java and Bali, gamelan music enlivens ceremonies, social occasions, and the daily lives of millions of people. There are different ( forms ) of gamelan and certain characteristic differences exist between the music of Bali, Java and West Java : but gongs, drums (kendang), metallophones (saron;gender), and gongchimes (bonang) are the basic instruments. A xylophone (gambang), a flute (suling), a two stringed instrument akin to a violin (rebab), and one or two zithers (kecapi), may be added. (on Java, in this century, the singing voice has become an important addition to gamelan music.) the music itself consists of bronze percussion combined with a variety of indigenous musical scales and a clear system of harmony arranged in complicated, polyphonic compositions. The making of metal musical instruments is a dying art. There are only two workshops still in existence, one in Bogor and the other in Solo. In Bogor, West Java’s last gong maker still produces percussion instruments and will take special orders. The secret of gamelan making has always been closely guarded due to a certain amount of mysticism involved. Each instrument was made to order for the palaces or orchestra of a nobleman. Only the master craftsman knew the whole process, and as these man die, the crafts is being lost.
The metal, a combination of cooper and tin, is heated over a charcoal fire and when it has attained the required temperature and hue it is poured into a hollowed-out rock and allowed to cool slightly. The instrument is beaten into shape while still hot, and then thrown into a one-meter-deep well of cold water. The artisans ritually wash their faces in this water.
Gongs used to be made one meter or more in diameter, but now can be made no longer than 90 cms. The pitch of the gong depends upon its size and the thickness of the metal. When buying a gong, listen for clear undulations in tone. The means of creating these undulations remains a secret.
Unlike gamelan music, which evidences very little recent foreign influence, kroncong music owes its existence in the urban areas of the Indonesian archipelago to early European, especially Portuguese, traders. Not surprisingly, kroncong is based on western harmony and relies upon western instruments such as guitar, violin and flute.
Indonesia probably has a greater variety of bamboo instruments than any other place in the world. there are literally hundreds of types of bamboo flutes alone. Versatile bamboo also lends itself well to use as a resonant sound box for simple stringed and percussion instruments.
Probably the most beautiful and unique of these instruments is the angklung. It consists of a large frame on which are arranged a number of double bamboo tubes of varying lengths and diameters, similar to those of an organ. The full classical Indonesian set has 9 angklung or pitch tubes; the western set have 33 or 67.
Each instrument in a set sounds a single tone or a chord. The tone produced by shaking these simple tubes is clear and mellow , yet soft, much like that of hand-held bells. Originally the angklung, found throughout Java anD Bali, was related to ceremonies for rice cultivation and was the instrument of soldiers asa well. It is one of the oldest of musical instruments.
PAINTING
Painting in Indonesia, as we know it today, evolved as recently as the 1900’s. until that time, the only painter of note was the artist Raden Saleh ( 1807-1880 ), who after studying in Europe for 20 years, became the first Indonesian artist of the 19th century to master the naturalistic painting technique. His pioneering achievements were, however, not widely acclaimed in his own country and it was not until half a century after his death that his work became popular and widely imitated. In the interim some realistic works of light caliber were produced by artists of some importance, such as R. Abdullah, Pringadi, and Wakidi.
Until the 20th century, aside from the painting of artifacts for daily use, only three kinds of pictures were made: scroll paintings for temple shrines; large paintings used by nobleman as hangings; and astrological calendars. The last were narrative paintings with mythological themes, and may still be purchased. Since the humidity of the climate reduced the lifetime of a painting to only about 40 years, the artists of the period were occupied primaliry with the renewal of existing art works. As a result, the Indonesian artist had been trained to copy and re-copy the recuringthemes and traditional style.
In the 1930’s there was an art renaissance with the introduction of modern painting materials. In 1937 a group of young artists, led by S. Sudjojono, formed the Indonesian painters’ Association, PERSAGI. S. Sudjojono led the group in a search for the Indonesian identity through painting honestly, in accordance with one’s inner self. Agus Djaya and Emiria Sunassa were also two of the more prominent artists of this time. Many of the works of this period can be seen in the collection of paintings in the Bogor Palace.the dramatic revolution in painting began in 1927 with the arrival of a German, Walter Spies , and two years later a Dutchman, Rudolf Bonnet. These two men decided to put Western materials in the hands of the promising young artists in Bali. Previously, the Indonesian artists had worked on cotton cloth treated with rice paste. Their paints, exceptfor the crimson which was brought from China, consisted of a few basic colors made on the premises. Black was made from soot, white from powdered pigs bones, yellows an ochres from clay. Themes for their paintings were taken exclusively from the Ramayana, legends, history, and village life. Now, with the range and intensity of the oils given them by spies and his influence upon their technique, Western concepts of color, perspective, effect of light, and the third dimension began to emerge. The paintings retained, however, the decorative elements which are uniquely Balinese . foreign and native artists then gathered in the Balinese village of Ubud, which today remains one of the art centers of Indonesia.
During World War II and the Japanese occupation, the Japanese, for propaganda purposes, formed an association of painters, Putera, which trained and exhibited young artists. This period was marked by the appearance of Otto Djaya , Hendra, Dullah, Barli and Henk Ngantung. Two previously recognized artists, Affandi and Kartono Yudokusumo, became priminant during those years.
Soon after independence in 1945, Indonesian artists began to form groups, working together to learn from one another and discuss ideas on art, and giving talented young people an opportunity to learn painting under the guidance of the studio leader. This period produced artists such as Sudarso, Zaini, Rusli, Kusnadi, T.Sumardjo, Nashar, O. Effendi, Nasyah, Sholihin, Bagong Kusudiarjo, and many others.
The faculty for Art Teachers in Bandung, founded in 1948, and the Academy of Fine Arts ( ASRI ) in Yogyakarta, established in 1950, have given birth to a vigorous generation of Indonesian artists . some of the most outstanding among them a A. Sadali, Srihadi, Popo Iskandar, Fadjar Sidik, Widyat, G. Sidarta, Edi Sunarso, Alibasjah, D.Pirous, Haryadi, Sunaryo, Mulyadi, W. Dhanarto, and Arief Sudarsono.
A visit to a major art gallery will prove there is more to Indonesian painting today tan the mundane offerings of “ the painters of the beautiful indies “ as Sudjojono disparangingly called the “ mountain-rice field-coconut palm “ formula produced for the tourist.
RATTAN FURNITURE
Rattan (rotan) is a solid-cane like plant of several varieties, qualities and sizes. From spaghetti thin to 4 inches in diameter. It proliferates in Kalimantan, Sumatra and South Sulawesi. Unlike bamboo, is does not regenerate when harvested, and must be replanted from seed.
After the plant has been harvested, it is allowed to dry, or is cured. Then the outer skin is removed, and the thick pieces are bent by heating them over an alcohol flame, and, with the use of a thick wrench like wooden tool, shaped to form the skeletal structure of the item. Thinner rattan is then woven around the frame and used for decoration. The fewer nails used in the construction of furniture, the less apt it is to break.
Rattan has long been used in basket making and other similar crafts. But its use in furniture and home decoration is a relatively new craft. The famous peacock chair, which originated in Morocco, has been made in Indonesia for only around thirty years. Designs come from other rattan growing countries and Europe. Most local producers have catalogues of designs from which to choose, or will attempt to make up your design from a picture or drawing.
As rattan is very susceptible to vermin, it is wise to ensure that the rattan furniture used in the home is properly fumigated. The more reputable producers will issue a guarantee to this effect.
As tons of the best quality rattan are being exported, the furniture buyer should ascertain which of the several available qualities has been used before establishing the price of an item.
STONE CARVING AND SCULPTURE
Monuments in Java from earliest time housed and were adorned by symbolic sculpture. Both relief and in-the-round sculpture at first followed Indian models but a unique and powerful Indonesian style soon developed. Evidence of the very high standards they achieved in this craft can still be seen in the Hindu Temples, which stand today near Yogyakarta ( Borobudur ) and Solo : Hindu deities, Buddhas and Bodissattvas with strong, serene faces; relief giving fascinating glimpses of early life, dress, customs; marvelous mythical animals gracing balustrades and gateways delight the visitor wherever he turns.
The temple carvings were intended for the instruction of the worshippers and illustrate episodes from the various lives of the Buddha, or of the bodhisattvas, or events from the Mahabharatta and the Ramayana. The sculpture of the later, eastern period, in the area around Singosari and Majapahit, shows an interesting departure from the naturalism seen in Central Java. The reliefs become more and more stylized until the figures, seen with faces in profile, resemble those of the wayang.
Although conversion to Islam ended temple building in Java, Javanese elements remained in the ornamentation of the early mosques and tombs. The deities of the earlier tradition were turned into abstract or floral designs to comply with the moslem prohibition against image making.
Bali, which has retained its own form of Hinduism, carries on the art of stone carving, mostly on local paras or padas, soft volcanic stone. Gods and figures from the Ramayana and other stories are depicted in stone in every Balinese temple and along the roadsides. Copies of gold Javanese carvings are being made in Surabaya.
Other stone carving is done in Kalimantan on a turquoise-colored ( perhaps turquoise-dyed, for there is no real turquoise found in Indonesia ) stone in the forms of tiny phials, circular bracelets, beads, rabbits and frogs.
THEATER AND DANCE
Southern Indonesian dance drama over the centuries has been based on court as well as folk traditions. Developments are the wayang orang and the annual Ramayana performances near the Prambanan temple (between Yogyakarta and Surakarta in Central Java ). These forms of dance drama are in many respects choreographical translations of the shadow play. The shadow theater, wayang kulit, was already well known in medieval times in one form or another and could move people to tears, if we may believe a relevant passage of the old Javanese epic poem Arjuna Wiwaha ( 11th century ). Today there are more than 10,000 individual performers of the shadow play. Shadow play is found in Java and Bali, with the exception of the Sunda region in the West. The Sundanese prefer the puppet play with carved wooden puppets, wayang golek, to the intricately carved flat leather figures of the Wayang Kulit. No matter what form, heroes and villains of the stories are in part well known to the public, not only through the theater, but also through millions of comic books. Every now and then facts and fancy of modern life are explained in terms of this wayang theater, not only by the puppet-masters, but also in newspaper editorials and even in government statements. The wayang has long been the peoples illustrated guide to classical lore, and to the inticacies of Indian epics, the Mahabharata and the Ramayana . these epics are fundamental both to old Indonesian literature and to present day classical theater.
Beside the well known forms of theater, there are a few vestiges of different traditions like Wayang beber, consisting of strip presentation of drawings with narration added and there are new forms, like the Wayang karya in Jakarta, featuring a large puppet stage. There is also a whole range of ceremonious if not ceremonial dances, among them the courtly serimpi and bedaya, dances for young girls, and the mask dances. The mask dancers of Cirebon’s artistic country and court life have recently started drawing great attention. The dramatic content of these various dances is subtle and often enigmatic.
There are four main streams of dramatic dance style : the Balinese, the Javanese, the Cirebon mask dances and the Sundanese. Differences between them do not cancel some general characteristics they have in common, especially in the field of dance technique and aesthetics.
Shadow and puppet plays are mostly performed on the occasion of family celebrations, and are held in the homes of those able to meet the relatively great expense. The philosophical and artistic intricacies of these forms of theater are the subject of speculative contemplation by experts.
Ceremonial and folks dances are found in many places in Indonesia. These include group dances, either for men or for women. To mention a few, there are the randai of West Sumatra for men, and the pakarena of Sulawesi for women. The dances of priests and some trance dances are well known, although sparingly performed. Among them is the dreamy sanghyang dance done by young girls in Bali to the accompaniment of a small choir. Out of this grew the rather recent, powerful performance called kecak, a song and dance play by many men, relating parts of the Ramayana. Some folks performances are a combination of dance and superhuman exercises., such as the eating of broken glass by the dancers riding the kuda kepang, a hobby horse like contraption, Javanese in origin.
Exercises of the martial self-defence technique, called silat or pencak, are popular. Out of this, a form of dance entertainment has grown, accompanied by drums and in West Java, a shawn, not unlike the ancient Greek aulos.
WOODCARVING
Throughout the world, wherever there was wood, there have been wood carvers, and Indonesia is not exception. It is impossible to trace the origins of this craft ; one can only discern influences on it. Java was most affected by the orient and the West. As with batik, and most other crafts, centers of woodcarving developed around the palaces, each having its own styles. Cirebon used stylized rocks, clouds etc. to decorate carved door panels, and produced wooden wayang (puppets) carved especially for wall decorations. The principal wood used there was from the sawo fruit tree.
Jepara on the North coast of Java was heavily influenced by the Dutch baroque style, and is known for its ornate furniture and screens.
Solo and Yogyakarta made use of bright colors to enhance the screens and Javanese cabinets they produced. They used lyric designs of flowers and plants, as well as dragons. Madura also felt the heavy Chinese and European influence, and is perhaps best known for its lovely beds, screens and chests. The craftsmen of Madura still produce fine furniture in the form of chests and cupboards.
Bali has two main types of woodcarving: the traditional, in the form of intricate bas-relief tableaux and plaques, used mainly for decorating doors and walls; and modern or contemporary, usually of elongated highly stylized human or animal figures, developed in the 1930’s. originally the carvings were treated and stained with oils to achieve a pleasing subtle gloss. Now Balinese artisans are finding that shoe polish produces much the same result, with half the effort. In addition to the “natural” stained carving, Balinese carvers are producing brightly colored animals.
Tanah Toraja produces attractive carved wooden panels with such stylized luck symbols as buffalo and leaves, emphasized in subtle tones of black, white, red and mustard. These panels were copied from those decorating the houses and granaries. Now craftsmen are becoming aware that this decorative panels may be adapted to other uses, and are modifying them to make trays, plates, and ashtrays.
Woodcarving skills have also contributed to the growth and development of the Indonesian theater arts, especially in the form of wayang golek (puppets) and masks. The puppeteers themselves carve the heads of the wayang from blocks of wood, usually teak, then paint, assemble and dress them. Visitors are welcome to see the puppets being made and in use at the school of folk Art ( Faculty of Fine Arts: National University, Jalan Bunga 5, Jatinegara, Jakarta ), where many types of performing arts are taught and presented.
Dance masks are also an important part of the Indonesian culture. Many of the Balinese masks are elaborately decorated, with real hair or hair-like fibers, bright colors, bulging eyes and hinged jaws. The Cirebon-style masks are more reserved in style, with little decoration, giving the dancers who wear them an almost sleepy, dead-pan expression. These have a small wooden projection inside, which the dancer clamps between his teeth to hold the mask in place.
Furniture making is a major industry in Indonesia. The wood used is nearly always teak, although some craftsmen are extremely adroit at staining it to look like mahogany or limed walnut. The workmanship is generally good, although recently increased demands have resulted in shortcuts in the curing of the wood. This, plus air-conditioned home or drier climates, may cause furniture and other wood crafts to warp and crack.



HANDICRAFTS AND THE ARTS
Indonesia, rich in tradition, raw materials and skilled craftsmen has a treasury of handicrafts both old and new. Due to its position along the international trade routes, the archipelago has felt the influence of many cultures, the earliest and most enduring of which came from india.
The Hindu religion, brought by the Indian traders, introduced sophisticated temple architecture, the craft of puppetry, and contributed much to the arts of stone carving, and gold, silver and bronze work. Some historians believe that batik was also introduced by the Indians.
Chinese tradition is dramatically evident in batik designs, furniture and metalwork; and early Chinese migrants may have brought the first bladed weapons to Indonesia. The much later arrival of the Portuguese and the Dutch contributed to the art of wood carving, metalwork and furniture making. Receptive to the new ideas, Indonesian craftsmen elaborated upon them, and perfected their skills to rise the level of their “new” crafts to even higher planes than those of the original ones. Unfortunately, many of these skills have died with their craftsmen, and more are disappearing all the time. However, new crafts, such as carpet making and rattan (rotan) work, are replacing the old as the need for them develops. Most handicrafts producers, and even many of the tukang who will come to your door, are willing to try new designs suggested by prospective customers. There are now two locations in Jakarta where one can see exhibits of most of the handicrafts described in this section : Sarinah Departement Store, jl, Thamrin 11 (3rd floor devoted entirely to handicrafts); and the Jakarta Handicrafts Building ( organized by the industrial Departement of the city Government ) jl. Gatot Subroto kav. No. 8 also see shops and Services section.
BATIKS
The traditional cloth of java, batik, is produced by a complex process of waxing and dyeing, and is characterized by extremely intricate patterns. ( the “tik” in batik means a little bit, a little dot or a drop ) the oldest batik was one color only, an elegant indigo blue pattern on an unbleached background. Later came combinations of white, indigo and brown, ( still natural dyes ) applied to a rough, homespun-like cotton cloth. As trade with Japan and the western world developed, so did the art of batik making, for finer cloth and more stable textiles dyes enabled the artisans to try new techniques and more elaborate designs.
A worker ( usually women ), using the traditional method of preparation, first washes her cloth and dips it in castor oil to preserve the color. She then removes the excess oil, starches the cloth and pounds it to soften the fibers. Only then is she ready to hang the cloth over a frame and begin waxing. Holding the cloth in her left hand, she dips her canting ( a small sheet-copper reservoir with one or more spouts ) into hot wax, a composition of bee’s wax, paraffin and resin; and begin to trace the outlines of her design. When waxing is completed on one side of the cloth she turns it over and retraces the design on the other side, making sure that every part of the design is covered with wax. Depending on the intricacy of the design, waxing may take a number of days.
Today, to shorten the process the hot wax can be applied with a canting cap, a hand-held stencil-like device, whose designs are formed by tiny, intricately and beautifully shaped strips and wires of copper. (used caps may be bought in most batik factories for interesting home decorations ) the cap is dipped into the molten wax and the design printed and reprinted onto the material. Dyeing, which is usually done by man, is equally painstaking work. If more than one color is planned, after dyeing the batik is returned for rewaxing. The first layer of wax is removed either by boiling the cloth, if all the wax is to be removed, or by sponging individual areas with hot water, or by judicious scraping. The remainder of the design is added on the second waxing, areas to remain the first color are waxed over, and the batik is returned to the dyer a second time. A hand-drawn batik usually takes at least a month to complete, and sometimes an intricate design may take as long as a year. There are two main groups of design patterns used in classical Javanese batik, geometric and free from designs. The geometric group may be subdivided thus: banji-taken from the swastika, meaning good fortune: caplok-a geometrical pattern of squares or circles formed from rosettes, stars or crosses, with animal or flower designs filling in the middle of the squares or circles: kawang-consisting of groups of four oval or elliptical shapes: nitik - imitating the texture or weave of fabric: and garis miring-consisting of diagonal stripes, the best-known being parang, which in some areas was reserved for nobility. The non-geometric group includes: semen-leaves, flowers,animals, garuda wings, etc: luk chan-those in which Chinese influence is clear ; and Cirebon-depicting landscapes of mountains, clouds, fish ponds and ornamental gardens, also showing strong Chinese influence. There are hundreds of others, but these are among the most easily recognized.
Ordinary pieces of batik are kain panjang, the wrapped skirt cloth : kain slendang. The long breast cloth worn by women; and kain kepala, the square headpiece, folded like a turban. The sarong, a piece of material sewn in a cylindrical shape, is more frequently worn in western java, primaliry by men. There are three main kinds of batik, the main distinguishing factor being the quality of the cloth on which it is done. The best is primissima, which is hand done on finely woven cotton. Prima is also hand done on fine cotton, and both measure 2 ½ meters in length. Biru is done by cap and is slightly shorter, measuring 2 ¼ meters. Often a thin blue line is woven into the margin of biru to show it is of a quality for dresses and shirts. A fourth type, rather rough in quality, is made in Jakarta entirely by machine. When buying batik, check for the softness of the material, the waxy smell, and be sure the colors are the same intensity on both sides. If they are not, the piece is of an inferior quality.
Another type of Javanese cloth is lurik, a coarse cotton homespun. Its use was formerly limited to men’s jackets in central java, but it is rapidly becoming popular in the form of designer-created upholstery, material. Realizing that the 2 12 meter length sarong has limited potential in the rapidly growing western market, batik makers have begun producing yard goods.
The mountainous area of south Sulawesi has long been famous for its silk weaving industry. The women raise their own silk worms as well as reel, dye, weave and sell their product: silk sarongs. It is estimated that there are at least 100.000 backstrap looms in the area on which the women weave pieces 70 cm. wide and 2 meters long. The designs range from fine colorful plaids to intricate tie-dyes ( ikat ). Some are even brocaded. Each design is traditional to its own district. The beautiful gold-brocaded sonket from Sumatra is usually done on richly-colored cotton or silk. Padang and Palembang produce the heavy gold thread appliqué, sulam, formerly done on silk and fine-woven cotton, but now done on rayon satin. Some pieces are further embellished with sequins or bit of glass held in place with gold thread appliqué. Two to three week’s work, plus fine and costly materials, are necessary to produce each piece. Use is mainly limited to weddings and feast days. Sulam may be found in the form of lavishly decorated kains, wedding pillows and wedding dais or canopies. It is with pride that especially fine pieces are handed down from one family generation to another. The Batak peoples of northern Sumatra have their own distinctive cloth which is brocaded in white on black and often includes mottos in their own language and beads strung on the woof threads in the middle of the pieces.
JEWELRY AND GEM STONES
The jewelry of Indonesia is as rich and as varied as its history and its culture. As with the other crafts, jewelry making developed in the palaces and it was worn as an intrinsic part of the ceremonies and dances. In Java and Sumatra jewelry was worn only at weddings of the princes and princesses. As all dancers dressed as royal brides, they wore the jewelry for dance performances. In the kratons the pieces were made of real gold and silver, but for dancers outside, they were of a cheaper gold-dipped metal. Each court had its own style of jewelry. In the Padang area of Sumatra, there are very light necklaces, pendants, bracelets and hair ornaments- small pieces attached to a spring-made of a light metal and then dipped in gold. They are quite fragile as they are intended only for ceremonies. In the courts of Java, the dancers wore magnificent gold and silver jewelry, with glitterring tiara-like head pieces. Some of the jewelry still in the possession of the kratons dates back to the 14th century Majapahit kingdom. These pieces are of heavy gold inlaid with diamonds and rubies. Craftsmen in bali make silver-filigree jewelry which is sometimes gold-dipped. A technique called granulation is sometimes employed in which small pellets of metal are heated until they are soft enough to adhere to the base. Pleasing modern designs are now being made. Filigree is also done in South Sulawesi, where it is called Kediri. The technique was learned from the Chinese.
There is little jewelry of precious metal in areas where the culture was less developed. The Batak people of northern Sumatra wore warrior belts made of silver pieces on a cord string, and like the dyaks of Kalimantan, used imported glass beads in necklaces. The dyaks wore necklaces of small woods statues about 5 cm. in Tanah Toraja dance costumes were decorated with old coins and small glass beads imported from china. In other areas jewelry is made from sea shells, seeds, tortoise shell and black coral.
Precious stone have long been used in Indonesian jewelry and the art of cutting them was advanced through the Indian influence. Many types of semi-precious stones are found throughout the archipelago. Diamonds are found near Kalimantan, an estimated 12 ½ to 15% of which are of gem quality, in spite of often having a yellowish or greenish cast. Opals are found in some parts of west Java. They are similar to Mexican opals : soft, porous and easily cracked. All opals should be stored in a humid, moist atmosphere to prevent their drying out. They should never be submitted to soaps or detergents, as their porous structure is absorbant and will become discolored. A 6-month guarantee must accompany opals for sale on the international market.
Members of the quartz family such as topaz, amethyst, smoky quartz and agate may be found in the Kalimantan area. There are many beliefs about the agates. Some are bought and worn for their beauty, some for their healing powers, some for bringing good fortune. One of the beliefs is that a cracked stone will bring bad luck; therefore it is never given to anyone.
Most of the gems are “mined” by the local population, digging with simple tools. The aspiring gem collector will find that mountains, beaches and newly cut roads are good hunting areas. Before removing stones, check with local residents for permission. Some compensation may be necessary for certain talismanic stones.
Agate : south Central Java, East Kalimantan and South Kalimantan.
Amethyst : east Java, South Central Java, Kalimantan.
Citrine : Kalimantan
Coral ( black petrified ) : black, taken from below 40 ft in Thousand Island and Sunda Strait. Petrified coral west Java and East Kalimantan.
Jade : (Indonesian green obsidian) Cikotok, Southwest Java
Jasper (red, yellow, blue) : same as agate but more widely dispersed. Sukabumi mountains.
Moonstone : same as agate
Onyx : (black, red) black, rare, red, Central Java.
Opal : Kaliwaja River in West Java, Banten West Java.
Petrified wood : common over much of West Java, Pacitan area of Central Java.
Quartz : (smoky, clear) Kalimantan
Robin stone : ( local name, probably star ruby ) Kalimantan
Tektite : uncommon. At Sangiran Dome, north of Solo, Billiton ( Belitung ) island; and near Martapura, South Kalimantan
Tiger Eye : Kalimantan
Topaz : Kalimantan
Tourmaline (black) : Natuna Island.
THE KERIS
Little is known about the antiquity of the keris, but many authorities believe that the first krisses were forged in the 13th century as simple weapons with which a man could defend himself or kill his enemies. Even in early times it was thought that the kris must posses supernatural powers to enable the owner to kill a person, for he was after all, sending him on his journey from this life to life after death. Each kris and the stories of the valorous deeds it had Performed, were passed down from father to son to grandson, and it came to be regarded as pusaka, a revered heirloom.
Gold-encrusted design adorn the blade, always double – edged, which may be curved or straight. Both represent the naga, the snake, if the blade is straight, the snake is depicted in a state of repose and contemplation, if curved, it is thought to be in motion. Even the modern Javanese man may believe that he will enhance the mystical power of his kris by bringing the blade into contact with the entrails and brain of a snake. Other mythological figures sometimes appear in the design as well. The blade is made of ordinary iron and nickelous (meteoric) iron by an intricate process called pamor work. The best nickelous iron originally came from several meteorites found in Java. Traditionally believed to have been sent as a gift from God to the keris makers. At a certain stage the metal is treated with arsenic or acetone, which affects only the nickel steel, bringing the design to light.
According to the keris lovers Association of Surakarta, a keris has value if it is : old, intact and in good condition, the origin is clear, powerful and in spiritual harmony with its owner.
Before one accepts a kris he should sleep with it unsheathed under his pillow for at least one night. The dreams that come to him should be interpreted by a guru (teacher), who can judge whether or not the kris and the person are in spiritual harmony. If not, it should be returned to its original owner, or thrown into a river in the hope that the river will carry it to the sea.
LEATHER
Parchment wayang kulit (leather puppets) has been traced back 500 years. Although today the handles are often made of wood instead of carved horn, they are still basically the same : the dramatis personae hand – punched in a lacy style, then further decorated with gold and other brightly colored paints. The small wayang kulit are made of sheep or goatskin ; the larger ones of cow or buffalo hide. In recent years, shoe factories have begun to develop and thrive, producing a vast range of styles from natural leather sandals to modern western shoe fashions. The leathers used, kidskin and calfskin, are mostly from local animals. Yogyakarta is the site of the institute for leather, which although primarily for research, has a few samples of leather crafts for sale. Beautiful hand-tooled bags and suitcases are also made in this area. Jakarta has a “farm” ( jl. Bandengan utara ) which raises alligators and small crocodiles for export. Some Indonesians enjoy the sport (and financial benefits) of catching large lizards and snakes, which are then sold. Stuffed and mounted for sale in curio shops, or transformed into purses, shoes and belts.
MATS AND RUGS
Plaited and woven mats have long been used in Indonesian homes. Recently the craft of making pandan and sisal rugs has been introduced. Both sisal and pandan fibers are well-suited to tropical climate. They are lightweight, thus easy to maneuver for airing and cleaning. Both fibers wear well in the humidity and can take steady traffic, although some manufacturers claim that sisal (also called sisal hemp) wear longer. Sisal fibers, yielded by the agave plant, dye well and can be seen in a variety of bright, true colors suitable to any decorating need.
Pandan fibers, from the pandanus plant of the screw pine family, do not take dyes readily. Thus, pandan carpets appear mainly in their natural, straw beige shade. Because pandan is more limited in its decorative use, it is less than half the price of sisal. The long leaf of the pandan is harvested, split along the central vein into a thin strip, which is then left to dry. These strips are plaited into long flat “braids”, which are shaped into squares, circles or ovals by winding them around nails driven into a board in the desired pattern. When the pattern has been achieved, the plaits are hand sewn in position. These pieces are then sewn together to make mats. Many small producers can be found along the new road to Bogor, although the quality of their product varies considerably, and selections should be made with care. Many of them will also make special-order mats in your size, shape, design and color specifications.
The tukang who sell baskets and brooms also sell very serviceable coconut fiber matting for door mats. Indonesia now has two factories producing hand-made wool rugs : P.P. Dobbe and Son in Bogor, which uses mostly local wool; and tai ping factory on the outskirts of Jakarta, which uses only imported wool both factories will make special-order carpet.
METALS
Metal working is an old and sometimes mysterious craft. One technique, used for the making of weapons, buckles and horse-bit in the kratons of Yogyakarta and Solo, is damasquine. This is the inlay of silver or gold into steel to form intricate patterns. Another technique, pomar, is used for keris making. The metal known as Bangka tin was originally used for small discs in the decoration of cloths in southern Sumatra and as an additive to bronze. The Dutch introduced a new use at the beginning of this century- the makings of goblets, tea services, candlesticks etc. the alloy used is mostly tin with a little silver, but the composition varies, with less reputable dealers adding large proportions of lead. Before buying, check for trademark ( especially on those items to be used for food or drink ). As the presence of one is often an indication of the quality of the alloy used. The alloy is smelted into sheets which are then handcrafted into these decorative and useful items. Unlike pewter, which has a higher percentage of lead and silver, Bangka tin does not tarnish and may be kept clean with the use of a non-abrasive toothpaste.
The chief Indonesian centers of gold and silver work are Java and Bali. The distinctive style of Yogyakarta silver is produced by punching the design into the silver from the inside, thus forming a pattern in relief. The craftsman today use modern design for goblets, tableware, tea services etc. also from Yogyakarta come the fine ornamental carriages, becaks and ships made in silver. The Balinese also produce silverware of this kind. Silver filigree work is also done in South Sulawesi. The most beautiful brass comes from Padang, South Sulawesi and Negara in South Borneo but it can be found throughout the archipelago. Most of it is produced by the lost-wax method : only the redder type used for cooking utensils is molded. One can find beautiful sirih sets, bells, rings, platters and spittoons. Juana, in Central Java, is noted for the high quality of its brass door locks, door and window handles, plumbing taps and weights.
Bronze is worked only in Java, mainly in the crafting of gamelan instruments.
The Indonesian government owns a smelter. Logam mulia, JL.Gajah Mada 84 jakarta, where the base metals are smelted from the ores, refined, and alloyed with other metals. Gold can be bought at Logam Mulia in 100 gram bars, one-half kilogram bars, and in one-kilogram bars.
MUSICAL INSTRUMENTS
Indonesian music is part of the Southeast Asia cultural entirety. Newcomers to the archipelago will be charmed by a unique type of orchestral music called gamelan. Found mainly in the South of Indonesia on the island of Java and Bali, gamelan music enlivens ceremonies, social occasions, and the daily lives of millions of people. There are different ( forms ) of gamelan and certain characteristic differences exist between the music of Bali, Java and West Java : but gongs, drums (kendang), metallophones (saron;gender), and gongchimes (bonang) are the basic instruments. A xylophone (gambang), a flute (suling), a two stringed instrument akin to a violin (rebab), and one or two zithers (kecapi), may be added. (on Java, in this century, the singing voice has become an important addition to gamelan music.) the music itself consists of bronze percussion combined with a variety of indigenous musical scales and a clear system of harmony arranged in complicated, polyphonic compositions. The making of metal musical instruments is a dying art. There are only two workshops still in existence, one in Bogor and the other in Solo. In Bogor, West Java’s last gong maker still produces percussion instruments and will take special orders. The secret of gamelan making has always been closely guarded due to a certain amount of mysticism involved. Each instrument was made to order for the palaces or orchestra of a nobleman. Only the master craftsman knew the whole process, and as these man die, the crafts is being lost.
The metal, a combination of cooper and tin, is heated over a charcoal fire and when it has attained the required temperature and hue it is poured into a hollowed-out rock and allowed to cool slightly. The instrument is beaten into shape while still hot, and then thrown into a one-meter-deep well of cold water. The artisans ritually wash their faces in this water.
Gongs used to be made one meter or more in diameter, but now can be made no longer than 90 cms. The pitch of the gong depends upon its size and the thickness of the metal. When buying a gong, listen for clear undulations in tone. The means of creating these undulations remains a secret.
Unlike gamelan music, which evidences very little recent foreign influence, kroncong music owes its existence in the urban areas of the Indonesian archipelago to early European, especially Portuguese, traders. Not surprisingly, kroncong is based on western harmony and relies upon western instruments such as guitar, violin and flute.
Indonesia probably has a greater variety of bamboo instruments than any other place in the world. there are literally hundreds of types of bamboo flutes alone. Versatile bamboo also lends itself well to use as a resonant sound box for simple stringed and percussion instruments.
Probably the most beautiful and unique of these instruments is the angklung. It consists of a large frame on which are arranged a number of double bamboo tubes of varying lengths and diameters, similar to those of an organ. The full classical Indonesian set has 9 angklung or pitch tubes; the western set have 33 or 67.
Each instrument in a set sounds a single tone or a chord. The tone produced by shaking these simple tubes is clear and mellow , yet soft, much like that of hand-held bells. Originally the angklung, found throughout Java anD Bali, was related to ceremonies for rice cultivation and was the instrument of soldiers asa well. It is one of the oldest of musical instruments.
PAINTING
Painting in Indonesia, as we know it today, evolved as recently as the 1900’s. until that time, the only painter of note was the artist Raden Saleh ( 1807-1880 ), who after studying in Europe for 20 years, became the first Indonesian artist of the 19th century to master the naturalistic painting technique. His pioneering achievements were, however, not widely acclaimed in his own country and it was not until half a century after his death that his work became popular and widely imitated. In the interim some realistic works of light caliber were produced by artists of some importance, such as R. Abdullah, Pringadi, and Wakidi.
Until the 20th century, aside from the painting of artifacts for daily use, only three kinds of pictures were made: scroll paintings for temple shrines; large paintings used by nobleman as hangings; and astrological calendars. The last were narrative paintings with mythological themes, and may still be purchased. Since the humidity of the climate reduced the lifetime of a painting to only about 40 years, the artists of the period were occupied primaliry with the renewal of existing art works. As a result, the Indonesian artist had been trained to copy and re-copy the recuringthemes and traditional style.
In the 1930’s there was an art renaissance with the introduction of modern painting materials. In 1937 a group of young artists, led by S. Sudjojono, formed the Indonesian painters’ Association, PERSAGI. S. Sudjojono led the group in a search for the Indonesian identity through painting honestly, in accordance with one’s inner self. Agus Djaya and Emiria Sunassa were also two of the more prominent artists of this time. Many of the works of this period can be seen in the collection of paintings in the Bogor Palace.the dramatic revolution in painting began in 1927 with the arrival of a German, Walter Spies , and two years later a Dutchman, Rudolf Bonnet. These two men decided to put Western materials in the hands of the promising young artists in Bali. Previously, the Indonesian artists had worked on cotton cloth treated with rice paste. Their paints, exceptfor the crimson which was brought from China, consisted of a few basic colors made on the premises. Black was made from soot, white from powdered pigs bones, yellows an ochres from clay. Themes for their paintings were taken exclusively from the Ramayana, legends, history, and village life. Now, with the range and intensity of the oils given them by spies and his influence upon their technique, Western concepts of color, perspective, effect of light, and the third dimension began to emerge. The paintings retained, however, the decorative elements which are uniquely Balinese . foreign and native artists then gathered in the Balinese village of Ubud, which today remains one of the art centers of Indonesia.
During World War II and the Japanese occupation, the Japanese, for propaganda purposes, formed an association of painters, Putera, which trained and exhibited young artists. This period was marked by the appearance of Otto Djaya , Hendra, Dullah, Barli and Henk Ngantung. Two previously recognized artists, Affandi and Kartono Yudokusumo, became priminant during those years.
Soon after independence in 1945, Indonesian artists began to form groups, working together to learn from one another and discuss ideas on art, and giving talented young people an opportunity to learn painting under the guidance of the studio leader. This period produced artists such as Sudarso, Zaini, Rusli, Kusnadi, T.Sumardjo, Nashar, O. Effendi, Nasyah, Sholihin, Bagong Kusudiarjo, and many others.
The faculty for Art Teachers in Bandung, founded in 1948, and the Academy of Fine Arts ( ASRI ) in Yogyakarta, established in 1950, have given birth to a vigorous generation of Indonesian artists . some of the most outstanding among them a A. Sadali, Srihadi, Popo Iskandar, Fadjar Sidik, Widyat, G. Sidarta, Edi Sunarso, Alibasjah, D.Pirous, Haryadi, Sunaryo, Mulyadi, W. Dhanarto, and Arief Sudarsono.
A visit to a major art gallery will prove there is more to Indonesian painting today tan the mundane offerings of “ the painters of the beautiful indies “ as Sudjojono disparangingly called the “ mountain-rice field-coconut palm “ formula produced for the tourist.
RATTAN FURNITURE
Rattan (rotan) is a solid-cane like plant of several varieties, qualities and sizes. From spaghetti thin to 4 inches in diameter. It proliferates in Kalimantan, Sumatra and South Sulawesi. Unlike bamboo, is does not regenerate when harvested, and must be replanted from seed.
After the plant has been harvested, it is allowed to dry, or is cured. Then the outer skin is removed, and the thick pieces are bent by heating them over an alcohol flame, and, with the use of a thick wrench like wooden tool, shaped to form the skeletal structure of the item. Thinner rattan is then woven around the frame and used for decoration. The fewer nails used in the construction of furniture, the less apt it is to break.
Rattan has long been used in basket making and other similar crafts. But its use in furniture and home decoration is a relatively new craft. The famous peacock chair, which originated in Morocco, has been made in Indonesia for only around thirty years. Designs come from other rattan growing countries and Europe. Most local producers have catalogues of designs from which to choose, or will attempt to make up your design from a picture or drawing.
As rattan is very susceptible to vermin, it is wise to ensure that the rattan furniture used in the home is properly fumigated. The more reputable producers will issue a guarantee to this effect.
As tons of the best quality rattan are being exported, the furniture buyer should ascertain which of the several available qualities has been used before establishing the price of an item.
STONE CARVING AND SCULPTURE
Monuments in Java from earliest time housed and were adorned by symbolic sculpture. Both relief and in-the-round sculpture at first followed Indian models but a unique and powerful Indonesian style soon developed. Evidence of the very high standards they achieved in this craft can still be seen in the Hindu Temples, which stand today near Yogyakarta ( Borobudur ) and Solo : Hindu deities, Buddhas and Bodissattvas with strong, serene faces; relief giving fascinating glimpses of early life, dress, customs; marvelous mythical animals gracing balustrades and gateways delight the visitor wherever he turns.
The temple carvings were intended for the instruction of the worshippers and illustrate episodes from the various lives of the Buddha, or of the bodhisattvas, or events from the Mahabharatta and the Ramayana. The sculpture of the later, eastern period, in the area around Singosari and Majapahit, shows an interesting departure from the naturalism seen in Central Java. The reliefs become more and more stylized until the figures, seen with faces in profile, resemble those of the wayang.
Although conversion to Islam ended temple building in Java, Javanese elements remained in the ornamentation of the early mosques and tombs. The deities of the earlier tradition were turned into abstract or floral designs to comply with the moslem prohibition against image making.
Bali, which has retained its own form of Hinduism, carries on the art of stone carving, mostly on local paras or padas, soft volcanic stone. Gods and figures from the Ramayana and other stories are depicted in stone in every Balinese temple and along the roadsides. Copies of gold Javanese carvings are being made in Surabaya.
Other stone carving is done in Kalimantan on a turquoise-colored ( perhaps turquoise-dyed, for there is no real turquoise found in Indonesia ) stone in the forms of tiny phials, circular bracelets, beads, rabbits and frogs.
THEATER AND DANCE
Southern Indonesian dance drama over the centuries has been based on court as well as folk traditions. Developments are the wayang orang and the annual Ramayana performances near the Prambanan temple (between Yogyakarta and Surakarta in Central Java ). These forms of dance drama are in many respects choreographical translations of the shadow play. The shadow theater, wayang kulit, was already well known in medieval times in one form or another and could move people to tears, if we may believe a relevant passage of the old Javanese epic poem Arjuna Wiwaha ( 11th century ). Today there are more than 10,000 individual performers of the shadow play. Shadow play is found in Java and Bali, with the exception of the Sunda region in the West. The Sundanese prefer the puppet play with carved wooden puppets, wayang golek, to the intricately carved flat leather figures of the Wayang Kulit. No matter what form, heroes and villains of the stories are in part well known to the public, not only through the theater, but also through millions of comic books. Every now and then facts and fancy of modern life are explained in terms of this wayang theater, not only by the puppet-masters, but also in newspaper editorials and even in government statements. The wayang has long been the peoples illustrated guide to classical lore, and to the inticacies of Indian epics, the Mahabharata and the Ramayana . these epics are fundamental both to old Indonesian literature and to present day classical theater.
Beside the well known forms of theater, there are a few vestiges of different traditions like Wayang beber, consisting of strip presentation of drawings with narration added and there are new forms, like the Wayang karya in Jakarta, featuring a large puppet stage. There is also a whole range of ceremonious if not ceremonial dances, among them the courtly serimpi and bedaya, dances for young girls, and the mask dances. The mask dancers of Cirebon’s artistic country and court life have recently started drawing great attention. The dramatic content of these various dances is subtle and often enigmatic.
There are four main streams of dramatic dance style : the Balinese, the Javanese, the Cirebon mask dances and the Sundanese. Differences between them do not cancel some general characteristics they have in common, especially in the field of dance technique and aesthetics.
Shadow and puppet plays are mostly performed on the occasion of family celebrations, and are held in the homes of those able to meet the relatively great expense. The philosophical and artistic intricacies of these forms of theater are the subject of speculative contemplation by experts.
Ceremonial and folks dances are found in many places in Indonesia. These include group dances, either for men or for women. To mention a few, there are the randai of West Sumatra for men, and the pakarena of Sulawesi for women. The dances of priests and some trance dances are well known, although sparingly performed. Among them is the dreamy sanghyang dance done by young girls in Bali to the accompaniment of a small choir. Out of this grew the rather recent, powerful performance called kecak, a song and dance play by many men, relating parts of the Ramayana. Some folks performances are a combination of dance and superhuman exercises., such as the eating of broken glass by the dancers riding the kuda kepang, a hobby horse like contraption, Javanese in origin.
Exercises of the martial self-defence technique, called silat or pencak, are popular. Out of this, a form of dance entertainment has grown, accompanied by drums and in West Java, a shawn, not unlike the ancient Greek aulos.
WOODCARVING
Throughout the world, wherever there was wood, there have been wood carvers, and Indonesia is not exception. It is impossible to trace the origins of this craft ; one can only discern influences on it. Java was most affected by the orient and the West. As with batik, and most other crafts, centers of woodcarving developed around the palaces, each having its own styles. Cirebon used stylized rocks, clouds etc. to decorate carved door panels, and produced wooden wayang (puppets) carved especially for wall decorations. The principal wood used there was from the sawo fruit tree.
Jepara on the North coast of Java was heavily influenced by the Dutch baroque style, and is known for its ornate furniture and screens.
Solo and Yogyakarta made use of bright colors to enhance the screens and Javanese cabinets they produced. They used lyric designs of flowers and plants, as well as dragons. Madura also felt the heavy Chinese and European influence, and is perhaps best known for its lovely beds, screens and chests. The craftsmen of Madura still produce fine furniture in the form of chests and cupboards.
Bali has two main types of woodcarving: the traditional, in the form of intricate bas-relief tableaux and plaques, used mainly for decorating doors and walls; and modern or contemporary, usually of elongated highly stylized human or animal figures, developed in the 1930’s. originally the carvings were treated and stained with oils to achieve a pleasing subtle gloss. Now Balinese artisans are finding that shoe polish produces much the same result, with half the effort. In addition to the “natural” stained carving, Balinese carvers are producing brightly colored animals.
Tanah Toraja produces attractive carved wooden panels with such stylized luck symbols as buffalo and leaves, emphasized in subtle tones of black, white, red and mustard. These panels were copied from those decorating the houses and granaries. Now craftsmen are becoming aware that this decorative panels may be adapted to other uses, and are modifying them to make trays, plates, and ashtrays.
Woodcarving skills have also contributed to the growth and development of the Indonesian theater arts, especially in the form of wayang golek (puppets) and masks. The puppeteers themselves carve the heads of the wayang from blocks of wood, usually teak, then paint, assemble and dress them. Visitors are welcome to see the puppets being made and in use at the school of folk Art ( Faculty of Fine Arts: National University, Jalan Bunga 5, Jatinegara, Jakarta ), where many types of performing arts are taught and presented.
Dance masks are also an important part of the Indonesian culture. Many of the Balinese masks are elaborately decorated, with real hair or hair-like fibers, bright colors, bulging eyes and hinged jaws. The Cirebon-style masks are more reserved in style, with little decoration, giving the dancers who wear them an almost sleepy, dead-pan expression. These have a small wooden projection inside, which the dancer clamps between his teeth to hold the mask in place.
Furniture making is a major industry in Indonesia. The wood used is nearly always teak, although some craftsmen are extremely adroit at staining it to look like mahogany or limed walnut. The workmanship is generally good, although recently increased demands have resulted in shortcuts in the curing of the wood. This, plus air-conditioned home or drier climates, may cause furniture and other wood crafts to warp and crack.

STATUES AND MONUMENTS
AURI : ( Angkatan Udara Republik Indonesia ) this statue of a man with outstretched arm a top a curving pedestal is situated in the circle on Jl. Gatot Subroto. It is a representation of the Ramayana figure Hanoman, incarnated as a god of a winds. The sculptor was Edi Sunarso of Yogyakarta.
Diponegoro Monument : Facing north and part of the national monument compound, this impressive bronze statue depicts prince Diponegoro astride a horse. The prince led the freedom fighters in their struggles against the Dutch between the years 1825 to 1830.
Gajah Mada : this statue of the famous prime minister of the Majapahit kingdom is situated on the corner of the police headquarters in Kebayoran Baru on Jl. Trunojoyo, Kebayoran.
Irian Jaya Liberty Monument : this statue of a man breaking his chains is located in lapangan banteng. Built in 1963, it commemorates is the liberation of Irian Jaya from the Dutch.
Kartini : This Statue Of Kartini, the Javanese princess who was the first to champion women’s rights in Indonesia, stands in front of the BAPPENAS building on jalan Imam Bonjol, menteng. The statue was a gift from Japan during the Soekarno administration.
Monas : The National Monument, built in 1961, stands in the center of Merdeka square. It is 137 meters tall and constructed of Italian marble. The flame on the top of the monument is covered with 35 kilos of pure gold. The base of the monument is an historical museum housing 48 dioramas of Indonesian history and symbols of Indonesia’s struggle for independence. A one minute elevator ride will take you to the viewing platform below the flame. From that vantage point on a clear day. You can see the mountains of the Puncak raising to the south and the Pulau Seribu ( thousand islands ) stretching away into the sea to the north. The monument will be open to the public by 1975, until then, arrangements to visit it can be made through the office on the east side of monument ( telephone 40409 ) or through any travel agency.
Panca Sila Sakti : This Monument Commemorates the death of six Indonesian generals and once officer who were killed by the communists on October 1, 1965, during the abortive coup d’etate. Standing in the center of the group is the statue of general Ahmad Yani, former Indonesian army chief of staff. The communists threw the bodies of the seven in a well. Which is within the monument at Lubang Buaya ( crocodile cave ). Pondok gede, complex. It is located about 15 kilometers from the center of the city, near Halim Airport.
Statue Of An Indonesian Hero ( Patung Laui ) : This Statue of a women giving rice to a peasant soldier stands in the square at Menteng Prapatan. It was created by a Russian Sculptor During The Soekarno Administration. The Monument bears an inscription based on a quotation from president Soekarno : “ only a great nation honors its hero “.
Welcome Statue ( Patung Selamat Datang ) : located in the circle in front of the hotel indonesia and surrounded by fountains. The statue consists of the bronze figures of a young man and women extending their arms in welcome. Completed for the 14th Asian games in 1962, the statue is the work of Edi Sunarso Of Yogyakarta.
Youth Spirit Monument ( Patung Pemuda ) : This Statue of a youth carrying the torch of development is located on the circle at the entrance to Kebayoran Baru, at the end of Jl. Raya Jend. Sudirman. Composed of cement, the statue was made by a group of young Indonesian sculptors and sponsored by Pertamina.

HANDICRAFTS, CURIOS AND ART

REFER TO THE ARTICLE ON HANDICRAFTS IN FRONT OF THE BOOK FOR INFORMATION ON AVAILABLE ITEMS. MOST ANTIQUE SHOPS ALSO CARRY A SELECTION OF HANDICRAFTS.

ARJUNA ART AND CURIO

Jl. Majapahit 16a, Kota, Phone : (021) 44251

Hours : 8am – 1pm And 4 – 7pm Monday – Saturday

Bali Woodcarvings, Silver From Yogya, Bali And Kendari,Wayang Kulit, Krises, Imported Stones And Jewelry, Small Selection Of Paintings. Large Selection Of Good Quality Porcelain, Antique Chinese Chests. Many Items From Makassar

“ BALI KERTI “ SOUVENIR SHOP

Jl. Sultan Hassanudin 9, Kebayoran, Phone : (021) 70664

Hours : 9am – 8pm Monday – Saturday, 9am – 6pm Sunday

Assortment Of Indonesian Art And Handicrafts Items, Many From Bali, Including Embroidery, Also Leather Goods.

TOKO BANDUNG

Jl. Pasar Baru 18c, Kota, Phone : (0210 43422

Hours : 8:30am – 1pm, 5 – 8:30pm Monday – Saturday

Yogya Silver ( Will Take Orders For Items ), Jepara And Bali Woodcarvings, Leather Goods.

THE BANKA TIN WARE

Jl. K.H.A. Wahid Hasyim 176-178, Menteng, Phone : (021) B40587

Hours : 9am – 5pm Monday – Saturday

Sells Trademarked T.K.F. Banka Tin Ware Which Is Made On The Premises. Limited Variety Of Everyday Items On Display But Will Make Anything To Order, Your Design Or Theirs. Will Do Repair And Engraving Of Banka Tin. Large Selection Of Trophies. Packs For Mailing.

BANUWATI ART SHOP

Jl. Semarang 14, Menteng, Phone : (021) 51180

Hours : 8am – 8pm Monday – Saturday, 9am – 1pm Sunday

Specialize In Balinese Crafts – Paintings, Woodcarvings, Masks, Also Wayang Puppets, Yogya Silver, Antique And New Jewelry With Semi Precious Indonesian Stones, All Types Framing, Bali Carved Molding For Framing, Stocks Indonesian Note Cards And Stationary.

BERGAS ART SHOP

Arcade Of Kartika Chandra Hotel, JL. Gatot Subroto, Senayan, Phone : (021) 582024, 582025 Ext. 159. 582289

Hours : 9am – 8pm Monday – Friday, 9am – 3:30pm Saturday – Sunday.

Branch In Transit Hall, Kemayoran.

Woodcarvings, Silver, Batiks, Paintings, Souvenirs From All Parts Of Indonesia

BOROBUDUR

Jl. Pasar Baru 15a, Kota, Phone : (021) 44642

Hours : 9am – 5pm Monday – Saturday.

Silver From Yogya, Kendari, Bali, Woodcarvings From Bali And Jepara, Bamboo Work And Angklung From Tasikmalaya, Batik And Batik Paintings, Boats Made From Cloves, Large Selection Of Wooden Puppets, Banka Tin Ware.

DJODY ART – CURIO AND ANTIQUES

Hotel Indonesia Arcade, JL. Thamrin, Menteng, Phone : (021) 40021 / 29, Ext. 9041

Hours : 8am – 9pm Monday – Saturday, 9am – 2pm Sunday.

Kendari ( Celebes ) Silver, Bali Woodcarvings, Primitive Statues, Yogya Batiks, Bronze, Ivory, Central Java Wayang Puppets.

M.V.GARUDA, ARTS, CRAFTS, ANTIQUES

Jl. Majapahit 12. Kota, Phone : (021) 42712

Hours : 8am – 1pm And 4 – 8pm Monday – Saturday

Large Stock Of Carvings ( Javanese, Balinese, And Copies Of Batak And Nias Primitives ), Copper Caps, Bronze Figures, Stones, Jewelry, Hand Woven Tapestries.

HADIPRANA’S GALLERIES

Jl. Palatehan I / 38, Kebayoran, Phone : (021) 71023

Hours : 8:30am – 7:30pm Monday – Friday, 8:30am – 7pm Saturday

Display Of Oils And Batik Paintings By Local Contemporary Artists, Good Selection Of Ceramic Arts, Plus Bali Woodcarvings And Batik.

HARRIS ART GALLERY

Jl. Raya Cipete, Kebayoran, South Of Jakarta

Hours : 9am – 7pm Monday – Sunday, Including Holiday

Large Variety Of Most Indonesian Handicrafts Including Javanese Ceramics, Knowledgeable Sales Personnel Can Explain Origin Of Crafts Indoor And Outdoor Galleries With Wide Selection Of Oil And Batik Paintings. Artists Often Work On Premises Including Woodcarving, Batiking, Weaving, Etc. Arrangements May Be Made To Have Indonesian Food, Luncheon Or Dinner, Served In Gallery’s Lovely Setting.

“ HOME ART “ GIFT SHOP

Jl. H.A. Salim 41 – B, Menteng.

Hours : 8:30am – 12:30pm, 5 – 7pm Monday – Saturday.

Variety Of Arts And Crafts Of Indonesia, Yogya Silver, Woodcarvings, Batiks ( Some Ready-Made Batik Clothing ), Leather Goods Of Reptile Skins, Weavings, Displayed On Two Floors, Excellent Collection Of Caps.

JAKARTA HANDICRAFT BUILDING

Jl. Jend. Gatot Subroto, Senayan, Phone : (021) 582725, 582726

Hours : 9am – 4pm Monday – Saturday.

Large Attractive Government Run Shop With Well-Displayed Handicrafts From Entire Indonesian Archipelago. Probably The Most Complete Assortment Anywhere. Batik Paintings ( Abstract And Traditional ), Tiger Skins, Reptile Handbags, Baskets, Wooden Goods, Etc. Price Competitive With Other Shops. Good Place For New Arrivals To Learn What Is Available In Local Handicrafts.

JAYAKARTA CENTER OF CRAFTS AND ARTS

Jl. K.H.A. Wahid Hasyim 168, Menteng, Phone : (021) 41356

Hours : B9am – 5pm Monday – Saturday.

Large Selection Of Batik Paintings By Brothers Soelardjo And Soemihardjo Of Yogya. Also Small Selection Of Oil Paintings. Selected Handicrafts From Yogya. Some Batik Fabrics Available. Large Bolts Of Lurik Batik Available On Request.

KOTA GEDANG, HOUSE OF INDONESIAN ARTS AND CRAFTS

Jl. Ir. H. Juanda 8 ( Nusantara ), Kota, Phone : (021) 47231

Hours : 9am – 1pm, 5pm – 7:30pm Monday –Friday, 9am – 1pm Saturday.

Large Selection Of Handicrafts, Bali And Jepara Woodcarvings, Yogya Silver, Tableware, Jewelry, And Leather Goods, Batiks And Weavings.

MAGASIN L’ART

Jl. Cikini Raya 71, Menteng, Phone : (021) 42349

Hours : 8am – 1pm, 4pm – 6pm Monday – Friday, 8am – 1pm Saturday

Mainly Balinese And Yogya Handicrafts, Woodcarvings, Wayang Golek, And Kulit. Some Bali Paintings, Yogya And Bali Silver ( Has Both Souvenir Type And Good, Expensive Silver Articles ). Indonesian Dolls.

NAINI’S FINE ARTS

Jl. Palatehan 1 / 20, Kebayoran, Phone : (021) 74120

Hours : 9am – 1:30pm, 4:30pm – 7:30pm Monday – Saturday.

Branch In Bandung, Jl. Tamblong 26 F.

Large Selection Of Paintings From Central Java, Some Arts And Curios

PURI BALI ART SHOP

Hotel Indonesia Arcade, JL. Thamrin, Menteng, Phone : (021) 40021 / 24 Ext. 9042

Hours : 9am – 8pm Monday – Friday, 9am – 5pm Saturday, 10am – 2pm Sunday.

Balinese Carvings, Yogya Silver, Batik Shirts And Material And Other Handicrafts, Also Sells Everything

RANI ART SHOP

Jl. Melawai Iii/6, Kebayoran, Phone : (021) 72187

Hours : 8:30am – 8:30pm Monday – Sunday.

Paintings ( Both Batik And Oil ), Silver From Yogya, Woodcarvings, Jepara Furniture, Art Gallery Upstairs With Paintings On Display, Batik By The Yard, Shirts, Dresses.

SHINTA ART AND GIFT SHOP

Jl. Melawai Vi/17 – 19, Kebayoran, Phone : (021) 74788

Hours : 8am – 8pm Monday – Saturday, Sunday After 10am.

Large Selection Of Banka Tin, Also Yogya And Bali Silver, Batiks, Leatherwork, Wayang Puppets, Carvings From Bali, Takes Orders For Banka Tin And Does Engraving. Over 5000 Paintings From Central Java And Bali, Price Vary From Inexpensive To Very Expensive, Does Framing.

WISMA NASIONAL

Jl. Melawai V/14, Kebayoran, Phone (021) 74879

Hours : 8:30am – 7:30pm Monday – Saturday, Closed Holidays.

Large Selection Of Banka Tin Or Will Make To Order, Woodcarvings, Yogya Silver, Silver Plate, Sisal Mats And Coasters, Wicker And Batik Lampshades, Batik And Lurik Cloth, Place Mats And Tablecloths.