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 (3^rd 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 14^th 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 13^th 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 19^th 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 20^th 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 ( 11^th 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.