Philosophy 4 Traditional Houses of North Sumatra (Batak)

Even though the Bolon traditional house is considered the only nationally recognized identity for the traditional North Sumatran house, did you know that the Batak people in North Sumatra actually have more than one residential architectural style? The Batak tribe itself is divided into several sub-tribes, namely the Karo Batak, Simalungun Batak, Pakpak Batak, Toba Batak, Angkola Batak, and Mandailing Batak, each tribe having different traditional house architectural arts. In the following, we will discuss some of the traditional North Sumatran houses of the Batak children one by one. North Sumatra Traditional House.

1. Bolon Traditional House, Toba Batak

The Toba Batak traditional house or commonly called Rumah Bolon has been asked to represent the traditional house of North Sumatra on the national stage. The house is rectangular in shape and is included in the category of stilt houses and is generally inhabited by 4-6 families who live together.

If in Java and other tribes in Sumatra the stilt style house is deliberately made to avoid attacks by wild animals, the bolon traditional house is actually deliberately made on stilts so that it has a bottom of the house. The house is then used as a cage for their pets such as pigs, chickens, or goats.

If you want to enter the bolon house, you have to go through a ladder at the front of the house. The staircase has an odd number of steps, and upon entering this house, we will be forced to duck because of the short door of the house. The door of the house is deliberately made short so that guests bow down so that philosophically they are considered to respect the owner of the house. So, here is the physical appearance of this Toba Batak traditional house.

2. Siwaluh Jabu Traditional House, Karo Batak

The Siwaluh Jabu traditional house, as it is commonly called, is a Karo Batak traditional house whose existence can still be found today. This house is architecturally very artistic style. The walls are tilted, the roof is in the form of a three-story triangle, and at the top of each triangle is decorated with a buffalo head symbolizing prosperity.

The Siwaluh Jabu traditional house is generally very large. It is usually inhabited by around 8 indigenous families. Each family in the house generally has its own role. There are those who act as leaders, workers, cooks, and so on. The following is the physical appearance of this traditional house in North Sumatra.

  

3. Bolon Traditional House, Simalungun Batak

The Simalungun Batak has a traditional house with the same name as the Toba Batak traditional house, namely the bolon house. Even though it has the same name, architecturally the Bolon traditional house in the Simalungun Batak style is different from the Bolon house in the Toba Batak style. The difference lies in the pillars, roof style, and decoration.

The supporting pillars of the Simalungun Batak traditional house are arranged horizontally across and resting on unpacked foundations. The style of the roof is high with a very steep slope and is equipped with windows. The decoration also has more aesthetic value because of the carved ornaments on the wooden walls. The following is the front view of this North Sumatra traditional house.

4. Bagas Godang Traditional House, Mandailing Batak

One of the remnants of the architectural art heritage of the Mandailing tribe in North Sumatra in the past is the architectural art of the Bagas Godang house. This traditional house in North Sumatra in the past was intended as the residence of the king. Therefore, this godang bagas house is usually built on a large complex and its existence is generally always accompanied by the Sopo Godang building or traditional hall.

Both the Bagas Godang house and the sopo godang building are stilt houses supported by an odd number of large wooden pillars, the same as the number of steps.

So, those are some of the traditional houses of North Sumatra which come from 6 children of the Batak tribe who are the original inhabitants. It's classic, isn't it..? Interested in making a dwelling in the style of one of the Batak traditional houses above? Please try!

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Philosophy 3 Betawi Traditional Clothing

The Betawi people are considered as a tribe with a very high level of cultural acculturation in Indonesia. Looking at history, this tribe originating from DKI Jakarta and its surroundings has indeed received a lot of influence from various cultures of people outside the region. Chinese, Arab and Dutch traders as well as other tribal people in Indonesia have made many contributions to the development of customs in this tribe since ancient times. This is what makes the customs and culture of the Betawi people so unique and different.

We can see the differences and uniqueness of the Betawi tribe from many things, starting from how the architecture of their dwellings (traditional houses), how they dress (traditional clothes), to various traditions and ceremonies which are still sustainable today. Well, actually in this blog we will discuss these three things, but on this occasion, we will only discuss Betawi traditional clothing. For Betawi traditional house architecture and traditional ceremonies, maybe we will discuss it on another occasion.

Betawi Traditional Clothing

In general, we have classified Betawi traditional clothing into 3 types, namely traditional clothing for daily use, traditional clothing for official events, and traditional wedding clothing commonly worn by Betawi brides. In the following, we will discuss this three one by one.

1. Betawi Traditional Clothing

For daily life, Betawi people usually wear simple clothes. The men wear plain-colored Koko or conscious clothes, long underpants with simple batik motifs, a cloth attached in the form of a sarong or shawl slung over their shoulders, and a black velvet cap. As for the women, they will generally wear a short-sleeved shirt with short sleeves, geometric patterned batik cloth in bright colors, and a headscarf that matches the color of the dress. The following is an example of an image of Betawi traditional clothing that is used in their daily lives.

2. Traditional Betawi Clothing

In official events such as weddings, celebrations, or big days, the Betawi people have official clothes that are considered very antique. The men wore black jackets with gold chain decorations on their pockets, black cloth trousers with short sarongs, and black caps to cover their heads. Women, they wear clothes that are actually still similar to their daily clothes, namely brackets, geometric patterned batik cloth, and brightly colored headscarves. The following is the appearance of Betawi traditional clothing in the official event.

3. Traditional Betawi wedding attire

In contrast to everyday clothes and official wear, the Betawi traditional clothes worn by brides are clothes that are thick with a mixture of Chinese, Arabic, and Western cultures. It is not surprising that this wedding dress was given a strange name, “Care Hajj Dress Up” for Betawi men's wedding dress and “Cine Bride Care None Dress Up”.

The hajj care attire worn by the groom during his wedding includes brightly colored robes and headgear made of turbans. As decoration, they will also wear scarves patterned with gold thread and brightly colored beads. Meanwhile, the care none of cine brides includes bright Chinese-style blouses made of satin, dark-colored skirts called Kun, and as a complement, on their heads, they use rocking flowers with hong-bird motifs with a fake bun complete with a veil on the face.

On the bun, jasmine flower ornaments formed by combs and ronje complement the beauty. Other jewelry used by Betawi brides is an electric bracelet, a wide necklace, and beads worn on the chest. For footwear, they use boat-style slippers. So, for more details, see the following pictures of Betawi traditional clothes.

So, that's information about the repertoire of Betawi traditional clothing, starting from everyday clothes, official clothes, and wedding clothes. Hopefully, it can be useful so that our knowledge about the assets of the Indonesian nation's cultural heritage is increasing. Regards.

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Gunungkidul Pindul Cave Nature Tourism, Enjoy Nature with Cave Tubing

Pindul Cave Tourism Object Gunungkidul - Pindul Cave which is located in the hamlet of Titleran I, Bejiharjo Village, Karangmojo District, Gunung Kidul, about 7 km to the north of Wonosari City, is one of seven caves fed by an underground river in the Beriharjo area. The Pindul Cave Tourism Object has a water depth of about 5 meters, a length of about 300 meters, and a width of 5 meters, and the distance between the roof of the cave and the water surface is about 4 meters.

In one part of Pindul Cave, precisely in the middle of the cave, there is a rather large room with a hole on top, the people around the cave call it an inverted well, and the atmosphere is even more impressive with the beautiful natural panorama with sunlight entering this room. This hole is often used as a vertical entrance by members of the Sar Team or by visitors to Pindul Cave Tourism.

History of Pindul Cave

According to stories circulating in the surrounding community, it all started with a character named Kyai Jaluwesi who had a conflict with a giant named Bendhogrowong. The two of them were involved in fighting supernatural powers, with Kyai Jaluwesi excelling. The giant then issued his knowledge due to feeling pressured. Unfortunately, the knowledge went wrong about Widodo and Widadi's pet dog, Kyai Jaluwesi's twins. The dog, named Sona Langking, was seriously injured and ran wildly toward a water source that was behind the bushes. Kyai Jaluwesi, who followed Sona Langking's running direction, was shocked when he found that his dog had recovered from a serious injury caused by the giant's magic.

Seeing this, Kyai Jaluwesi then named the water source Mbelik Panguripan, because it was able to heal the severe injuries his dog had suffered. Sometime after that incident, a man and woman named Kyai and Nyai Sejati appeared who wanted to rule over the land around Mount Bang. They asked Kyai Jaluwesi to move from that place, and Kyai Jaluwesi agreed. Even so, Kyai Jaluwesi wanted a condition, that is, after his move, the people of Gunung Bang had to hold a clean lepen (river) event, ledhek (tayub) dancers, on Monday Most every year. Then Kyai Jaluwesi moved to the Pindul Cave area, until moksa, and is believed to be a caretaker at Pindul Cave and Mbelik Panguripan.

Of course, legends or stories circulating cannot be trusted one hundred percent, but a good reader should be able to understand what is behind each legend, not even consider it mystical or unreasonable. The Gunungkidul Pindul Cave Tourism Object, which is currently the prima donna of cave tubing tourism, is indeed very interesting and offers a different sensation from other tours that are common in Yogyakarta.

Cave Tubing Sensation

Cave tubing is almost the same as rafting (rafting). If rafting or white water rafting is an activity along a river using a boat, then cave tubing is an activity along a cave by riding on an inner tube. Because the flow of water in the Pindul Cave Nature Tourism Object is calm and the water discharge is relatively the same both in the rainy season and the dry season, cavetubing in Pindul Cave can also be done by beginners or small children.

When you go exploring in Pindul Cave, you will find a stalactite that has merged with a stalagmite so that it looks like a pillar with the width of five adult arms (Soko Guru). This stalactite is the largest in Pindul Cave and is ranked number 4 in the world.

Facilities at the Pindul Cave Tourism Object

Cave tubing tours in Pindul Cave provide guides who can guide us to cave tubing. The manager has provided cave tubing equipment such as tires and life vests, as well as headlamps. To rent these facilities, visitors will be charged a fee of around IDR.25,000 - IDR.30,000.

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The history of the construction of the Kujang Monument in Bogor

Bogor Kujang Monument

The towering Kujang Monument is located in a strategic place and is a proud monument to the city of Bogor, West Java, whose shape is taken from a typical Pasundan weapon that has historical meaning and value. Located in the corner of the Botanical Gardens and is an indicator of a place that was once dominated by bemo and Delman is now a "city of millions of angkot (city transportation)"

The Kujang Monument in the city of Bogor is located on Jalan Pajajaran in front of the Botanical Square which is adjacent to the IPB campus or is located in the northeast corner of the Bogor Botanical Gardens. This monument with a height of approximately 25 meters was built on May 4, 1982, on an area of ​​26 meters x 23 meters and was estimated to cost Rp. 80 million This monument, which stands firmly, is one of the symbols of the city of Bogor, as it is in other cities in Indonesia. The ornament in the form of an heirloom cleaver that stands firmly on the Kujang Monument weighs approximately 800 kg with an ornament reaching 7 m high. This heirloom ornament is covered in stainless steel, copper, and brass material.

This monument was inaugurated on June 3, 1982. This place is one of the indicators of the development of the City of Bogor from the "advanced" era to the "ayeuna" era, where currently the place is located in the bustling city of Bogor with the noise of motorized vehicles which are sometimes used as a shadow terminal for city transportation. (angkot) which during the day was hit by "the hot sun of Bogor City", it was different in the 1970-1980s the place was relatively quiet, only IPB students going to college, and the "bucket" sound of bemo engines which were full load with relatively rising roads and bends or the sound of "plaque-plok" the horseshoes towing the wagon. But now, besides being busy, it is also a relatively strategic demo location because besides being busy it is also near the Bogor city gate from the Jagorawi toll road (now there are 2 toll gates in Bogor City), it is also an area for appointments because besides being strategically located it is also close to the Damri terminal to Soekarno Hatta Airport). The name Kujang itself is taken from the name of a traditional Sundanese ethnic heritage weapon which is believed to have supernatural powers.

THE ORIGIN OF THE KUJANG WEAPON

Kujang Weapon

Kujang is one of the traditional weapons of the Sundanese people, which has cultural values ​​that are quite taken into account by cultural observers. Kujang is the only weapon that is only owned by the Sundanese people, and for that let us know more about this one weapon. By still inserting messages; presented not to be praised let alone insulted but presented to be known and corrected. From the title, it already occurred to me that the cleaver is the traditional weapon of West Java province. Why is this weapon known as the Kujang, it is almost similar in shape to a sickle or sickle. However, there are abnormalities in the hollow back. The Kujang heritage itself has been known since the time of the Pajajaran Kingdom in the 14th century AD, during the reign of King Siliwangi. In the past, Kujang could not be separated from the life of the Sundanese people because of its function as agricultural equipment. This statement is contained in the ancient manuscript Sanghyang Siksa Kanda Ng Karesian (1518 AD) as well as oral traditions that developed in several areas, including in the Ranch area, Ciamis.

Evidence that supports the statement that a cleaver is a farming tool can still be seen today in the Baduy, Banten, and Pancer Pangawinan communities in Sukabumi. Other sources state that this weapon was used in the 4th century as a tool for agricultural needs, but in the 9th century AD, the value of the cleaver became sacred. At this time, the cleaver was used as an heirloom weapon by the kings of the Pasundan land. This weapon is believed to have magical powers and is able to give authority and supernatural powers to its owner. Kujang is a weapon full of mystery.

The value of the Kujang as an amulet or amulet first appeared in the history of the Padjadjaran Makukuhan Kingdom. Precisely during the reign of Prabu Kudo Lalean. Since then, the Kujang has been gradually used by the kings and nobles of the Kingdom as a symbol of authority and supernatural powers. One time, Kudo Lalean was doing tapa brata somewhere. Suddenly the prabu got the inspiration to redesign the shape of the Kujang, which had been used as an agricultural tool. Surprisingly, the latest design that was in the mind of the King, the shape is similar to the island of "Djawa Dwipa", which is known as the island of Java today. So, after receiving this inspiration, Prabu Kudo Lalean immediately assigned Mpu Windu Supo, a blacksmith from the royal family. He was asked to make blades like what was in the King's mind. At first, Mpu Windu Supo was upset about the shape of the weapon he had to make. So before doing work, Mpu Windu Supo meditated, observing the King's mind. Finally, an image of the weapon prototype was obtained, as Kudo Lalean had in mind. After his meditation was over, Mpu Windu Supo started his work. With magical touches enriched with spiritual philosophical values, it becomes a weapon that has high power. This is a Kujang that has a unique shape and becomes an object with magical powers. This weapon has 2 striking characteristics. The shape resembles the island of Java and there are 3 holes somewhere on the blade. This is a weapon that in future generations will always be associated with the Padjadjaran Makukuhan Kingdom. The shape of the island of Java itself is a philosophy of the King's ideals, to unite the small kingdoms of Java into one kingdom headed by King Padjadjaran Makukuhan. Meanwhile, the three holes on the knife symbolize the Trimurti, or the three aspects of the Godhead of Hinduism, to which Kudo Lalea also adheres to.

The three aspects of Divinity point to Brahma, Vishnu, and Shiva. The Hindu Trinity (Trimurti) was also represented by the 3 main kingdoms at that time. These kingdoms include Pengging Wiraradya, which is located in the eastern part of Java; The Kambang Putih Kingdom, located in the northern part of Java, and the Padjadjaran Makukuhan Kingdom, located in the West. The shape of the Kujang developed further in later generations. Different models appeared. As Islamic influence grows in society, the Kujang has undergone a design resembling the Arabic letter “Syin”. This was an attempt by the Pasundan region, namely Prabu Kian Santang, who wanted to convert the Pasundan people to Islam. In the end, Kujang's philosophy, which has Hindu and religious nuances from past cultures, was reinvented in accordance with the philosophy of Islamic teachings. Syin itself is the first letter in the shahada poem (sentence) in which every human being testifies to the One God and the Prophet Muhammad as His messenger. By saying the creed and this intention in the heart, every human being automatically converts to Islam.

The manifestation of Islamic values ​​in the Kujang weapon is to expand the area of ​​the blade which conforms to the shape of the letter Syin. The latest model of Kujang should be able to remind its owner of his loyalty to Islam and its teachings. The five holes on the Kujang have replaced the meaning of the Trimurti. These five holes symbolize the 5 pillars of Islam (pillars of Islam). Since then, the Kujang model describes the combination of the two styles designed by Prabu Kudo Lalean and Prabu Kian Santang. However, the authority of the Kujang as an heirloom weapon that is full of "other powers" and can give certain powers to its owner, remains. In its development, the Kujang weapon was no longer used by kings and nobility. Ordinary people also often use Kujang just like the Kings and nobles.

In Sundanese society, Kujang is often seen on display as a home decoration. It is said that there is some kind of belief related to luck, protection, honor, authority, and others. However, there is one thing that must not be done. Namely displaying Kujang in pairs on the wall with sharp blades facing each other inside. This is a taboo or prohibition. In addition, no one is allowed to take a photo of him standing between the 2 Kujangs in that position. Reportedly, this will cause the death of the person within 1 year, no more but could be less. Bogor "My Tradition" once a week (the plan is every Thursday). This was conveyed by the Mayor of Bogor Diani Budiarto when receiving a visit from the Head of the West Java Batik Foundation Mrs. Sendy Dede Yusuf at the Bogor City Hall. The typical Bogor batik has the motif of drizzling rain, cleavers, and deer. So, the cleaver monument is not just a monument that is the pride of the city of Bogor, but also a cultural symbol that will be further developed at this time. Don't forget about the maintenance of the monument. starting from cleanliness, idle hands, or the chaos of city transportation that sometimes "deliberately stops" at red lights.

It is said so because many believe that in the Kujang there is a magical and sacred power. For most Sundanese people, Kujang is considered not just an ordinary weapon. But a weapon that has "other powers" beyond human reason. Even Sundanese people who do not believe in the existence of other (supernatural) powers behind the Kujang, will definitely treat the Kujang in a special way. At least appreciate the Kujang as a home decoration, even a souvenir. This is where the value of the authority of the Kujang weapon is proven. Kujang does have philosophical values ​​for the ancient Sundanese people. And the process of its creation is very closely related to the need for other powers than a weapon. The origin of the Kujang itself was actually inspired by an agricultural tool. This tool has been widely used from the 4th century to the 7th century AD. At that time the shape was closer to the figure of a sickle or sickle, then in the 9th century, the shape of the Kujang began to take shape as we see it today. Since then, the public's image of Kujang has changed.

Reference: History of the Kujang Monument

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The initial name of the Glodok area in Jakarta

Glodok in 1948

Glodok is one part of the old city of Jakarta. Since the reign of the Dutch East Indies, this area is also known as the largest Chinatown in Batavia. The majority of Glodok residents are of Chinese descent. Today, Glodok is known as one of the electronics sales centers in Jakarta, Indonesia. Administratively, this area is a Kelurahan which is included in the Taman Sari sub-district, West Jakarta.

Glodok, which got the nickname China Town or Chinatown, was immortalized in a photo around 1940. In the photo, you can see old buildings with Chinese characters. Meanwhile, houses that are also shops (Ruko) still imitate the style of mainland China. You can still see electricity and telephone poles which are no longer there and are underground.

Glodok 60 years ago was bustling with people passing by. Sado was the main means of transportation at that time, while pedicabs only appeared after the Japanese occupation (1942-1945). Now, many Chinese residents in Glodok use this area as a place to hold their wares. Some of them have moved to elite areas and have luxurious homes,

The atmosphere of Glodok Tempo Doeloe

such as at Pantai Indah Kapuk, Pluit, Sunter, Ancol, and Pondok Indah. Glodok during the Dutch era, like now, was an economic area that constantly pumped trade pulses, not just an area synonymous with Chinatown. In contemporary Jakarta history, Glodok has many meanings: the struggle of migrants, glory, adversity, and resistance to fate and oppression. There are many things to remember about the old Glodok: Chinese captains for hundreds of years of glory, thousands of Chinese people who were brutally slaughtered by the Dutch, nostalgia for Imlek (Chinese New Year), Cap Go Meh (the 15th night of Chinese New Year), and Peh Cun (Chinese New Year). the 100th day of Chinese New Year).

These traces continue to fade with time and age. In fact, it still feels thick and becomes history that enriches Jakarta. After 30 years of being banned by the New Order, now approaching Chinese New Year we find Glodok preparing to celebrate its new year's day. There is no doubt, Glodok is a traditional area, a tradition that originated in the land of their ancestors when they immigrated in large numbers about 400 years ago from mainland China. If we want to go deeper into its origins, glodok comes from a name that sounds grojok grojok. This place is a stop for horse-drawn horses to be given a drink.

In the Glodok area, there are shops in Pancoran which used to be a place for people to get drinking water and bathe. Exploring or looking at photographs of the 19th and early 20th centuries, we will find Chinese people passing by with long braided hair back and smooth shaved front. It is a tradition inherited from the Manchus who colonized mainland China for three hundred years. The Dutch colonial government itself, in addition to requiring the Chinese to live in one place, forbade them to dress like natives and Westerners. Those who violate this rule are subject to fines, even imprisonment.

Pre-War Glodok atmosphere

The word Glodok comes from the Sundanese "Golodog". Golodog means the entrance to the house because Sunda Kalapa (Jakarta) is the entrance to the Sunda kingdom. Because before being controlled by the Dutch who brought workers from various regions and became Betawi or Batavia, Sunda Kelapa was inhabited by Sundanese people. Changes from 'G' to 'K' at the end are often found in Sundanese words spelled by non-Sundanese, especially the Javanese and Malays who later inhabited Jakarta. Until now, in Jakarta, there are still many regional names originating from Sundanese, although the spelling has changed slightly. The name Glodok also comes from the sound of shower water from a small octagonal building in the middle of the courtyard of the City Hall (Stadhuis) building - the seat of the Dutch Company administration in the city of Batavia.

This octagonal building, built around 1743 and demolished before being rebuilt in 1972, helped the soldiers of the Dutch Kumpeni a lot because it was there that clean water flowed that could be used for daily needs. Not only for soldiers of the Dutch Kumpeni but also used to drink the horses of the soldiers after long journeys. The sound of the shower water grojok..grojok..grojok. So then the sound coming from the small rectangular building was spelled by the natives as Glodok.

The name "Pancuran" eventually became the name of an area now known as Pancoran or people in the Jakarta City area calls it the term "Glodok Pancoran". Until now, the two names, namely Glodok and Glodok Pancoran, are still familiar to Jakartans, even outside Jakarta.

Reference: Wikipedia and Digital Batavia

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History of the Fatahillah Museum in Jakarta

Fatahilah Museum in the Old City of Jakarta

Jakarta as the capital of the Republic of Indonesia has kept a very long history, even going back to prehistoric times. We can still study and enjoy this historical journey until now at the Fatahillah Museum, which is located in the Old City Area, or to be precise at Jalan Taman Fatahillah No. 2, West Jakarta. Here you can explore various historical relics of the city of Jakarta from prehistoric times, the heyday of the Sunda Kelapa port, the colonial era, to the post-independence period.

The Fatahillah Museum, also known as the Jakarta History Museum or the Batavia Museum, is a museum located at Jalan Taman Fatahillah No. 2, West Jakarta with an area of ​​more than 1,300 square meters. This building used to be a City Hall (Dutch: Stadhuis) which was built in 1707-1710 by order of Governor General Johan van Hoorn. The building resembles the Dam Palace in Amsterdam, consisting of the main building with two wings on the east and west and a side building used as an office, a courtroom, and dungeons used as a prison. On March 30, 1974, this building was inaugurated as the Fatahillah Museum.

The City of Batavia in 1770

The architecture of the building is in a 17th-century neoclassical style with three floors painted in earthen yellow, and door and window frames made of dark green teak wood. The main roof has a compass direction. The museum has an area of ​​more than 1,300 square meters. Yard with block arrangement, and a pond decorated with several old trees.

The objects that can be found in this museum include historical journeys of Jakarta, replicas of the remains of the Tarumanegara and Pajajaran eras, results of archaeological excavations in Jakarta, antique furniture from the 17th to 19th centuries, which is a blend of European, People's Republic of China, and Indonesian. There are also ceramics, pottery, and stone inscriptions. These collections are found in various rooms, such as the Jakarta Prehistoric Room, the Tarumanegara Room, the Jayakarta Room, the Fatahillah Room, the Sultan Agung Room, and the MH Thamrin Room.

There are also various collections on Betawi culture, numismatics, and pedicabs. Even now there is also a statue of the god Hermes (according to Greek mythology, the god of luck and protection for merchants) which was previously located at the Harmoni intersection, and the Si Jagur cannon which is considered to have magical powers. In addition, at the Fatahillah Museum, there is also a former dungeon that was once used during the Dutch colonial era.

In 1937, the Oud Batavia Foundation submitted plans to establish a museum on the history of Batavia, the foundation then bought the warehouse of the Geo Wehry & Co company which was located east of Kali Besar to be precise on Jl. Great North Gate No. 27 (now the Puppet museum) and rebuilt as the Oud Batavia Museum. The Old Batavia Museum was opened to the public in 1939.

Dioramas inside the Fatahilah Museum

At the time of independence, this museum turned into the Old Djakarta Museum under the auspices of the LKI (Indonesian Cultural Institute), and then in 1968, the "Old Djakarta Museum" was handed over to the Regional Government of DKI Jakarta. The Governor of DKI Jakarta at that time, Ali Sadikin, then inaugurated this building to become the Jakarta History Museum on March 30, 1974.

To improve its performance and appearance, the Jakarta History Museum since 1999 has been determined to make this museum not just a place to treat and exhibit objects from the Batavian period, but also to be a place for all people, both Indonesian and foreign, children, adults and even for people with disabilities to add knowledge and experience and can be enjoyed as a place of recreation. For this reason, the Jakarta History Museum tries to provide information about the long history of the city of Jakarta, from prehistoric times to the present in a more recreational form. In addition, through its exhibition system, the Jakarta History Museum tries to describe "Jakarta as a Cultural Meeting Center" from various ethnic groups, both from within and outside Indonesia, and the history of the city of Jakarta as a whole. The Jakarta History Museum also always tries to organize recreational activities so as to stimulate visitors to be attracted to Jakarta and increase awareness of the importance of cultural heritage.

The Jakarta History Museum building was built in 1620 by Governor General Jan Pieterszoon Coen as the second city hall building in 1626 (the first town hall was built in 1620 near East Kalibesar). According to historical records, this building only had one story, and the construction of the second level was carried out later. In 1648 the condition of the building was very bad. Jakarta's soil is very unstable and the weight of the building causes it to descend from the ground. An easy solution by the Dutch government was not to change the existing foundation but to raise the floor by about 2 feet (56 cm). According to a report, 5 cells under the building were built in 1649. In 1665 the main building was widened by adding one room each on the West and East sides. After that, several repairs and changes were made to the Stadhuis building and the prisons until they became the form we see today.

Apart from being used as a Stadhuis, this building is also used as a "Raad van Justitie" (court council). From 1925-1942, this building was used as the West Java Provincial Government Office and from 1942-1945 it was used as the logistics collection office for Dai Nippon. In 1952 this building became the headquarters of the City Military Command (KMK) I, then it was changed back to KODIM 0503 West Jakarta. In 1968, this building was handed over to the Regional Government of DKI Jakarta, then it was inaugurated as the Jakarta History Museum on March 30, 1974.

As is common in Europe, the city hall building is equipped with a field called “stadhuisplein”. According to a painting made by a VOC employee ''' Johannes Rach'' who came from ''Denmark'', in the middle of the field there is a fountain which is the only source of water for the local community. The water comes from Pancoran Glodok which is connected by a pipe to Stadhuiplein. In 1972, excavations were carried out on the field and found the foundation of a fountain complete with its pipes. So with historical evidence, it can be rebuilt according to Johannes Rach's drawings, then a fountain is created in the middle of Fatahillah Park. In 1973 the Regional Government of DKI Jakarta re-functioned the park by giving it a new name, namely '''Taman Fatahillah''' to commemorate the commander Fatahillah who founded the city of Jakarta.

Based on archaeological excavations, there is evidence that the first settlements in Jakarta were located on the banks of the Ciliwung river. This settlement is thought to have originated in 2500 BC (the Neolithic Period). The first written evidence found is the Tugu inscription issued by King Tarumanegara in the 5th century. Inscriptions are evidence of religious activities at that time. In the next period around the 12th century, this area was under the rule of the Sunda kingdom with its famous port of Sunda Kelapa port.

It was during this period that a trade agreement was held between the Portuguese and the Sundanese king. In the 17th century trade with foreign parties expanded, and the port of Sunda Kelapa changed to Jayakarta (1527) and then became Batavia (1619). In 1942 the Japanese seized power from the hands of the Dutch and ruled Indonesia until 1945.

Its treasury totals 23,500 pieces originating from the legacy of the Old Jakarta Museum (Oud Batavia Museum), the result of procurement efforts by the DKI Jakarta Government and donations from individuals and institutions. Consists of a variety of materials both of the same kind and mixtures, including metal, stone, wood, glass, crystal, pottery, ceramics, porcelain, cloth, leather, paper, and bone. Among the collections that should be known to the public are Cannon Si Jagur, sketches, statues of Hermes, execution swords, filing cabinets, paintings of the Dutch East Indies Governor General of the VOC in 1602-1942, round tables with a diameter of 2.25 meters without a connection, tools of prehistoric society, inscriptions and weapon.

The collections on display amount to more than 500 pieces, and the others are stored in storage (storage room). Some of the collections are more than 1,500 years old, especially the collections of prehistoric people's living tools such as stone axes, square pickaxes, and earthenware jugs. The heritage collections of the Old Jakarta Museum date back to the 18th and 19th centuries such as chairs, tables, filing cabinets, beds, and weapons. Periodically rotation is carried out so that all collections can be enjoyed by visitors. To enrich the treasury of museum collections, it opens opportunities for individuals and institutions to lend or donate their collections to the Jakarta History Museum.

By keeping abreast of developments in the dynamics of society who want change so as not to sink into a static and boring atmosphere, and supported by policies contained in the museum's vision and mission, regarding the organization of a museum that is oriented towards community service interests, the permanent exhibition system for the Jakarta History Museum is carried out chronologically. the history of Jakarta, and Jakarta as a cultural meeting center of various ethnic groups both from within and from outside Indonesia. To display stories based on Jakarta's historical chronology in the form of displays, collections related to history are needed and supported graphically using photographs. , drawings and sketches, maps, and explanatory labels to make it easy to understand in relation to historical factors and the historical background of Jakarta.

While the presentation of cultural nuances is also packaged artistically where it can be seen that there is a process of cultural interaction between ethnic groups. The arrangement is adjusted in the most effective way possible to live up to the existing cultures so as to invite community participation. The layout of the permanent exhibition of the Jakarta History Museum is carried out in a planned, gradual, schematic, and artistic manner, so as to create comfort and add insight to visitors.

Reference: Wikipedia

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History of the Statue of Arjuna Wijaya

Arjuna Wijaya Statue

Hello friends, if you live in Jakarta, you will often see the Arjuna Wijaya statue which is at the intersection of Jalan MH Thamrin and Jalan Medan Merdeka, right in front of the Indosat building, do you know why this statue was made?

The Arjuna Wijaya Statue or also called the Arjuna Wiwaha Statue or the Asta Brata Statue is a monument in the form of a chariot statue with a copper fountain located at the junction of Jalan MH Thamrin and Jalan Medan Merdeka. The designer of the Arjuna Wijaya Statue is an Indonesian sculptor from Tabanan, Bali, Nyoman Nuarta. This statue was built around 1987, after the state visit of Indonesian President Soeharto from Turkey. The process of making the Arjuna Wijaya Statue was carried out by around 40 artists and the work was carried out in Bandung, West Java.

The Arjuna Wijaya statue depicts a scene in the classic Mahabharata story, where two figures from the Pandawa camp, namely Arjuna holding a bow and Batara Kresna who is a coachman, are riding a chariot headed by an eagle pulled by eight horses which symbolize the eight philosophies of leadership "Asta Brata ". The two of them are depicted in a combat situation against Adipati Karna who comes from the Kaurava camp.

Sculpture Making Background

According to Nyoman Nuarta, the construction of the Arjuna Wijaya statue was motivated by President Soeharto's state visit to Turkey in 1987, where he saw many monuments explaining stories of Turkey's past on the streets of his protocol. President Soeharto realized that he could not find this on the main roads in Jakarta, so he initiated the construction of a monument containing Indonesian philosophy. Through Nyoman Nuarta, finally, the story of the Baratayuda War was used as the idea behind the statue's final form.

"Arjuna Wijaya" itself means "Victory of Arjuna", which tells of his victory in defending his truth and courage, a symbol of appreciation for his warrior qualities. The Arjuna Wijaya statue is a statue which is a symbol that the law must be upheld indiscriminately. This is motivated by one episode in the Bharatayuddha story where Arjuna fights against Adipati Karna who is his own brother. According to Nyoman Nuarta, in the Mahabharata epic, Arjuna was initially hesitant because it was his own brother who he was fighting, but he had to make a decision for the good of more people, he had to defeat Adipati Karna who stood on the side of the Kauravas.

The eight horses pulling the chariot symbolize the eight leadership philosophies according to the universe, which is called "Asta Brata" namely: Kisma (earth), Surya (sun), Agni (fire), Kartika (star), Baruna (ocean), Samirana ( wind), Tirta (rain), and Candra (moon). The appearance of the Asta Brata horses has become a distinct feature of the Arjuna Wijaya Statue, where some of the horse statues show the shape of complete body parts, but some parts of the body are transparent. This shape has become the main attraction for visitors who want to count the number of Asta Brata horses. According to Nyoman Nuarta, the actual number of Asta Brata horse statues is eight, whereas the transparent ones are shadows of the Asta Brata horses.

According to Nyoman Nuarta, the Arjuna Wijaya statue cost around 290 to 300 million rupiahs in price adjustments in 1987. This statue was renovated in early October 2014 and re-opened by DKI Jakarta Governor Basuki Tjahaja Purnama on January 11, 2015, accompanied by Nyoman Nuarta and the board of directors of Bank OCBC as the party carrying out the renovation. The statue underwent the addition of a horse's motion shadow, repairs to the fountain installation, and a place to pose at the front of the statue.

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History of the 1000 Door Mosque in Tangerang

Masjid Nurul Yaqin/Masjid Pintu Seribu

The Thousand Doors Mosque is located in the city of Tangerang, which is included in the province of Banten, which at that time was the center of the spread of Islam in the western tip of Java Island. So it's no wonder that Banten's tourism potential in the modern era is dominated by religious tourism. One of them is the Thousand Doors Mosque, whose real name is Nurul Yakin Mosque. 

Front of the Mosque

The location is in the village of Bayur, Priuk Jaya, Jatiuwung, Tangerang Regency, Banten. It's quite easy to reach by car, only a few minutes from the center of Tangerang City. This mosque is called the Thousand Doors Mosque because no one knows how many doors this mosque actually has. In fact, the mosque manager does not even know exactly how many doors there are. Because they never counted the number of doors in the mosque. This thousand-door mosque was founded in 1978 by the late Sheikh Al-Bakhir Mahdi, a resident of Arab descent who the locals called Al-Faqir. All development financing he bore alone, Al-Fakir died on the 1st of Ramadan 2012 then. Furthermore, the management of the thousand-door mosque was continued by the four sons of the deceased, namely Khairul Zaman, Khainul Yakin, Fatwa Paku Alam, and Khairullah.

As a tribute, local residents gave him the title Mahdi Hasan Al-Qudratillah Al-Muqoddam. Reportedly, Al-Faqir is also building similar mosques in Karawang, Madiun, and several other cities in Indonesia. The construction of this mosque does not even use design drawings. There is no basic design that can display a particular architectural style. There are very ornamental gates following the architectural characteristics of the Baroque era, but there are also those that are even very similar to the Mayan and Aztec architecture.

Pilgrims will mainly come during the days of Islamic greatness, or just before the month of Ramadan. Hundreds of pilgrims who were seen generally came from Bandung, Kerawang, and Jakarta. Apart from that, there were also various pilgrims from Kalimantan and Aceh.

H. Abdul Karim, one of the administrators at the mosque revealed that most pilgrims choose to come to the Nurul Yaqin mosque during Islamic holidays such as the Prophet's Birthday, Isra, and Miraj, as well as just before the fasting of Ramadan. "There are also many pilgrims who come during Islamic holidays to take part in the event," he said.

One of the dungeons is quite large. Here there is a super large prayer bead made of wood. The diameter of each tasbih is about 10 centimeters. Or around an adult's fist. This room is usually used by Al Faqir for remembrance. Usually, the guide deliberately turns off the lights in the room and invites those present to imagine the moments in the grave that are so cramped, stuffy, and dark. Then he asked to pray together in silence and darkness. All of the alleys eventually lead to an open space that looks like a football stadium. This is where congregational prayers are held.

The alley under the Thousand Doors Mosque

The Nurul Yakin Mosque or better known as the Sewu (thousand) mosque has its own uniqueness compared to other mosques in Banten. Besides having a thousand doors, a giant tasbih is displayed in one corner of the room. There is no written statement, what is the meaning behind the architecture of the building.

Located at Rt 01/Rw.03, Kampung Bayur, Priuk, Tangerang City. The founder of the mosque is an Arab-born propagator of Islam named Al-fakir Syekh Mahdi Hasan Al-qudrotillah Al-muqoddam. One of the uniqueness of this mosque is that the rooms are partitioned to form a room like a prayer room. Each room (mosque) is given a name. There is a Fathul qorib prayer room, Tanbihul Alqofilin, Durojatun Annasikin, Safinatu-Jannah, and Fatimah to Ratu Ayu prayer room. Each prayer room area is about 4 meters.

Mosque Underground Aisle

Apart from the prayer room, another uniqueness is the giant prayer beads displayed in the room. It has 99 grains with a diameter of 10 centimeters. Each item is inscribed with the name Asma'ul-Husna. That said, the tasbih is the largest in Indonesia. On some of the mosque's doors and the front fence, you can see the number 999. According to the mosque management, this number is a combination of the names of Allah and the names of the nine saints (walisongo). Each aisle in this mosque is equipped with a guide. And, one room of the many passages that lead to the basement is called the tasbih room. This room is usually used by Al Faqir and other congregations to perform istiqomah.

Apart from having a thousand doors, in the basement of this mosque, there are tasbih the size of a baby's head, totaling 99 tasbih with the words asmaul husna. Initially, this mosque was not very popular because of the era, however, after it began to be published by many media, the mosque was then visited by many people from all over, not only nationally but also by the international community.

The Thousand Doors Mosque is believed to be one of the places where Islam was spread by its founder. That said, the distribution was carried out by distributing groceries to the poor and orphans. "The history of this mosque is because it has as many as a thousand doors. Besides that, the method of spreading Islam is from several generations by distributing routine groceries every Friday," said Supandi.

Unfortunately, this thousand-door mosque still has a lot of construction to be completed, this mosque still needs the help of the government so that the construction of this mosque can be completed properly. the need for the role of local government to support religious tourism in the Tangerang area to make

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History of the Statue of Heroes or the Farmer's Monument

Hero Statue

The hero statue or also called the farmer's monument is a statue made of bronze with the figure of a man with a hat and a woman located near Gambir station, Jakarta. This statue was made by two famous sculptors in Russia, Matvey Manizer and Ossip Manizer, as a gift from the Soviet Union government for its friendship with Indonesia. The meaning of the building varies in terms of symbol and history.

In appearance, the peasant monument is solid black in color and made of bronze with the figure of a woman, in a bun and wearing a kebaya, providing food supplies to the figure of a man standing upright wearing a caping, a hat commonly used by the Indonesian peasantry with a full long-barreled weapon with a dagger. This statue depicts a family that went to fight for freedom. On the pedestal of the statue is written "Only a Nation that Can Appreciate Its Heroes Can Become a Great Nation"

The reasons for making the Tugu Tani statue from a historical perspective are different, but there are two versions of the background to the making of this statue. The first, the statue of the peasant monument was made with inspiration when Soekarno visited the Soviet Union in 1922. At that time, there was an upheaval in Russia between those who were pro-Russian imperial system and the communists. This reminded him of the situation in Indonesia. He was also looking for a sculptor to make a monument to honor the struggle of the farm workers in the G 30 SPKI movement.

Meanwhile, another version says the origins of the construction of the farmer's monument are related to the claim of the West Irian region, not about the communist movement in Indonesia. In a book it is stated that Sukarno wanted a farmer's monument to be made to commemorate the struggle of the Indonesian people in defending West Irian which had been controlled by the Dutch until 1963.

Meanwhile, the process of making the statue to resemble a farmer and a woman was obtained from Manizer's trip when he visited Indonesia in 1960. At that time, he heard a story about a mother who supports her child to fight for her country, and reminds her child never to leave her parents. Returning to the Soviet Union, he and his colleagues made the statue as a memento.

Interpretation

The style of the symbol of communism in making this statue can be seen from the humble and submissive female figure, while the man puffs out his chest, is athletic, and has a heroic posture. The appearance of a farmer dressed as a soldier, complete with a gun pointing upwards is a strong element that represents the ideology of the communists. The statue of the peasant monument was proposed to be demolished considering the history and meaning contained in it because everything related to communism was considered sensitive and taboo. However, this request was denied because the statue is a meaningful symbol of the history of the ideological struggle of the Indonesian people.

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History of Youth Sculpture Building

Statue of Youth Building-Senayan

The Youth Development Statue or better known as the Pizza Man Statue is a monument located at the Senayan Fountain roundabout, in Jakarta. The monument, which is located not far from the Ratu Plaza shopping center, was made by a sculptor team who are members of the Bureau of Architectural Engineers (ISA) under the leadership of Imam Supardi. The person in charge of implementation is Munir Pamuncak.

The existence of this statue aims to encourage the spirit of development which in essence must be carried out by youth or people who are young at heart. Therefore this statue is named "Sculpture of Youth Building". The statue is placed in the Senayan fountain roundabout because it is practical and strategic. Practical because the place is wide, enough to meet the requirements to install a large and strategic statue because the place is a meeting point from and to all corners of the city of Kebayoran Baru and its surroundings. Apart from that, it is also close to the Senayan sports complex and not far from the People's Consultative Assembly Building.

Manufacturing History

This statue is made of reinforced concrete with cement mortar and the outside is covered with terrazzo material. Work began in July 1971 and was inaugurated in March 1972. Originally it was planned that the inauguration would take place at the commemoration of Youth Pledge Day, 28 October 1971, but at that time the statue had not yet been completed, so the inauguration was delayed several months. The entire funding for making the statue is provided by the oil company currently named Pertamina. At that time the highest leader, Ibnu Sutowo, also played a role.

Named Youth Builds because the statue depicts a young man carrying a torch with a fiery passion. From a distance this statue looks naked, the lines of the veins and lumps of muscle are accentuated to support the expression of the movement of the youth figure. The meaning of the torch is as a tool of light and in a philosophical sense is to illuminate the dark heart and soul. It is hoped that young people will take an important role in nation-building. Active participation in advancing the homeland is needed because it is through the hands of youth that the ideals and hopes for the future lie. This statue is quite tall. Efforts to maintain it are carried out by the DKI Jakarta Provincial Government, including through the Plantation Service and the Fire Service to 'bathe' the statue.

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History of the Aerospace Statue in Pancoran Jakarta

Dirgantara-Pancoran Statue

The Dirgantara Statue Monument or better known as the Pancoran Statue is one of the sculptural monuments in Jakarta. The location of this monument is in the Pancoran area, South Jakarta. Right in front of the Wisma Aldiron Dirgantara office complex which used to be the Indonesian Air Force Headquarters. Its strategic position is because it is the gateway to Jakarta for newcomers who have just landed at Halim Perdanakusuma Airport.

The first idea for making the statue came from President Soekarno, who wanted a statue to be made about the world of Indonesian aviation or aerospace. This statue depicts a spaceman, which means it depicts the courageous spirit of the Indonesian people to explore space.

Manufacturing History

Edhi Sunarso

This statue was designed by Edhi Sunarso around 1964-1965 with the help of the Arca Family in Yogyakarta, Central Java. While the casting process was carried out by the Yogyakarta decorative artistic bronze statue led by I Gardono. The weight of this bronze statue reaches 11 tons. While the height of the statue itself is 11 meters, and the feet of the statue reaches 27 meters. The construction process was carried out by PN Hutama Karya with Ir. Sutami is the managing architect. The work was delayed due to the events of the September 30th Movement of the PKI in 1965.

Pancoran Area in 1966

The design of this statue was based on Bung Karno's request to display the might of the Indonesian people in the aerospace field. The emphasis on the design of the statue means that to achieve might, the Indonesian nation relies on the qualities of Honest, Courageous, and Enthusiastic.

The process of installing the Dirgantara Statue was often attended by Bung Karno, so his presence was always a hassle for the state apparatus tasked with maintaining the security of the head of state. The installation tool is simple, namely using a hand-pull crane. The statue, which weighs a total of 11 tons, is divided into pieces that each weigh 1 ton.

The installation of the Dirgantara statue was finally completed at the end of 1966. The Dirgantara statue was placed in this location because it is strategic, it is the gateway to the South Jakarta area from Halim.

 

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The History of the Welcome Statue to the Hotel Indonesia Roundabout

Welcome Monument

The Welcome Monument is a monument located in the middle of the Hotel Indonesia Roundabout, Central Jakarta, Indonesia. This monument is a statue of a pair of humans holding flowers and waving their hands. The statue faces north which means they welcome people coming from the direction of the National Monument.

Manufacturing History

In 1962, Jakarta welcomed state guests at the Hotel Indonesia Roundabout. At that time, President Soekarno built the Welcome Monument in the context of the IV Asian Games which were held in Jakarta. The athletes and officials stayed at the Hotel Indonesia and competed at the Ikada sports complex, now the Gelora Bung Karno complex, Senayan. Senayan Stadium at that time was the largest stadium in Southeast Asia which could accommodate 120,000 spectators.

Henk Ngantung

The idea for making this statue came from President Soekarno and the initial design was done by Henk Ngantung who at that time was the Deputy Governor of DKI Jakarta. The height of this bronze statue from head to foot is 5 m, while the total height from the feet to the waving arms is +-7 m, and the height of the statue's feet is 10 m. The executor for making this statue was a team of sculptors from the Arca Family led by Edhi Sunarso in Karangwuni. At the time of its creation, President Sukarno was accompanied by the United States Ambassador, Howard P. Jones and the ministers visited the Edhi Sunarso studio. Making this statue takes about a year. The Selamat Datang Monument was then inaugurated by Sukarno in 1962.

The Selamat Datang Monument is located in the center of the Hotel Indonesia roundabout or HI roundabout. So named because of its location close to the Hotel Indonesia. Another accepted spelling is Bunderan HI, which is a language closer to Javanese-Betawi, a dialect closer to Jakarta's identity. This roundabout is located in the middle of the M.H. Thamrin with Jalan Imam Bonjol, Jalan Sutan Syahrir, and Jalan Kebon Kacang. In 2002, the Hotel Indonesia Roundabout was restored by PT Jaya Construction Manggala Pratama with the addition of a new fountain, new pool design, and lighting. After the reform era, the HI roundabout became a popular place for demonstrations. Every Sunday morning, when the Jakarta Car Free Day is held, this roundabout is filled with people exercising, cycling, and street vendors.

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