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Tribal Art from Nias Island / Sumatra

from Nias Island

from Nias Island

Link to : adu zatua / nias island

2013 in review

The stats helper monkeys prepared a 2013 annual report for this blog.

Here’s an excerpt:

A San Francisco cable car holds 60 people. This blog was viewed about 1,700 times in 2013. If it were a cable car, it would take about 28 trips to carry that many people.

Click here to see the complete report.

I Wayan Beratha: The father figure of Balinese ‘karawitan’ | The Jakarta Post

I Wayan Beratha: The father figure of Balinese ‘karawitan’ | The Jakarta Post.

via I Wayan Beratha: The father figure of Balinese ‘karawitan’ | The Jakarta Post.

I Wayan Beratha: The father figure of Balinese ‘karawitan’

by Luh De Suriyani on 2012-08-02

Delicate tunes wafted enchantingly, as I Wayan Beratha, the creator of many romantic compositions for the Semara Pegulingan ensemble, passionately manipulated the wooden mallet upon the rows of metal blades of the gangsa metallophone, creating a string of soft, yet clearly beautiful melodies.

His music hovered in the air and touched the old wall of Beratha’s family compound in Abiankapas hamlet in East Denpasar. The compound lies just a few meters from a bustling traditional market and most of the aging merchants there knew that the gangsa player that day was not a young, novice musician.

They knew that it was the master musician who was reminiscing about his glory days, embracing once again the instrument and the tunes that always brought a smile to his wrinkled face.

Beratha, born in 1926, was recently awarded the inaugural title of Empu Seni Karawitan (master of the art of traditional music) by the Indonesian Arts Institute (ISI) in Denpasar for his lifetime achievements and dedication to preserving Balinese traditional music that has also included the creation of around 20 musical compositions, various dances, gending (traditional songs) and dance-drama performances.

Accompanied by his only daughter, Sutjiati Beratha, a literature professor at Udayana University, Beratha received the award on Saturday.

Despite declining stamina and limited mobility over the past two years due to diabetes, the 87-year-old, respected by many as the father figure of the art of Balinese music (karawitan), continues to daily engage with his life’s greatest passion: Playing the Balinese gamelan.

When Bali Daily asked whether he still performed megambel, a term in the Balinese language for playing the gamelan, Beratha’s sparkling eyes and brief answer said it all. “Yes, I still love to play.”

“Bapak [father] still often plays the rindik [the bamboo xylophone] and the gangsa by himself. When he does, he usually stays up until late at night,” added his son-in-law I Wayan Ardika, who is a distinguished Balinese archeologist.

Ardika said that currently, a biography about his father-in-law was being written to record his lifetime dedication to the Balinese arts.

Among his numerous masterpieces are the Yudapati dance (1958), the musical composition of Swabhana Paksa (1959), the dance-drama Jayaprana (1961), the tabuh Gesuri (1964), the dance-drama Ramayana (1965), the dance-drama Maya Denawa (1966), the musical composition of Palgunawarsa (1968), and the Panyembrana dance (1971). He created his tabuh Gesuri while performing in New York, one of his many performances abroad, while the musical composition Palgunawarsa received the highest appreciation at the Bali Gong Kebyar Festival in 1968. His famous Yudapati dance depicts the characteristics of a hero; bravery, loyalty, helpfulness, sacrifice and prioritizing the interests of the common people.

Beratha is the son of I Made Regog, and the grandson of I Ketut Keneng, a great Balinese artist in the era of King I Gusti Agung Ngurah Denpasar. As the third generation of a traditional Balinese artistic family, Beratha naturally learnt his expertise in creating gending and playing the gamelan instruments as well as his skills in fixing the tuning the gamelan, locally known as the profession of tukang panggur.

Throughout the years, Beratha has been known for his consistent efforts in the regeneration of the Balinese arts by developing numerous Balinese art studios and engaging in the establishment of the Sekolah Menengah Kerawitan Indonesia (SMKI), the Akademi Seni Tari Indonesia (ASTI) and the ISI. He was also among the founding fathers of the Balinese cultural board Listibya in 1967.

During the award ceremony, ISI Denpasar rector professor I Wayan Rai praised Beratha’s wholehearted dedication to the development of Balinese arts. “Wayan Beratha is a role-model artist. He is like the god of beauty who has taken an important role in developing the Balinese arts.”

For his deeds, Beratha has received dozens of national and provincial awards, including the Art Award from the Education and Culture Ministry in 1972.

Beratha himself is also popular for his broad perspective that opposes the regional-based fanaticism in Balinese music. Between 1957 and 1959, Beratha made an effort to combine the southern and northern styles of the Balinese karawitan.

Beratha, who dropped out of school when he was a fifth-grader at the sekolah rakyat, the Dutch colonial equivalent of grade school, has always been a figure who has symbolized the creativity of the Balinese people despite the lack of a formal higher education.

gorgeous artifact arrived safley in Spain,Mallorca

arrived safley in spain , mallorca island





Edi V. Petebang, Contributor, from Samarinda, East Kalimantan
Features The Jakarta Post- April 04, 2003
Some 50 people, all wearing masks decorated with red-knobbed bill bird (enggang) feathers, emerged from one end of the Telivaq village by a tributary to the Mahakam River. 

Their bodies covered with tassels of banana leaves, each of them carried a wooden stick and a mandau (dagger). They walked towards the Amin Ayaq customary stilt house, which is 2-meters high and 12-meters by 20-meters square.  

As soon as they arrived, they danced round the house, led by the customary chief. The sound produced by their sticks when struck against the ground and the stamping of their feet, coupled by the long whining of the hudoq dancers, made your hair stand on end.  

After dancing collectively for about an hour, people began to dance individually. After the hudoq dance performance was completed, the audience could enjoy other cultural shows. 

It is on an occasion like this that the men and women of the Dayak Bahau tribe will appear dashingly courageous and graceful in their customary attire.  

 In the Dayak Bahau language, udoq means a mask. Except in Telivaq, the hudoq dance performed by the Dayak Bahau community in all other villages along the Mahakam (or Mekam in the Dayak Bahau language) river basin is the same.

The Dayak Bahau people living along the Mahakam river basin perform their hudoq ritual usually in October and November, the time when they plant rice in the unirrigated rice fields.  

Hanyak, 65, an elder from Mamahaq Besar village, Long Hubung district, West Kutai regency, said the hudoq dance was intended to accompany the soul of the paddy on its journey from the house to the rice field.  

This annual rite must be performed in the most festive manner possible to ensure that the soul of the paddy will be pleased to stay in the rice field. The Bahau people believe that animals like deer, hogs, monkeys and birds bring paddy from heaven to them. The hudoq are designed to reflect these animals. 

For the Dayak Bahau community along the Pariq River, the hudoq dance is performed every day for seven to 10 days ahead of the harvest. Each day a different hudoq dancer will appear. The climax of the hudoq festivity comes on the last day when all the hudoq dancers that have appeared before will again be seen.  

Each hudoq dance requires different masks and accessories. In the Suh Doh hudoq, for example, the inheritor of a hudoq will have to harvest one kilogram of paddy from the rice field and keep it inside a piece of bamboo before the rite is performed. The hudoq rite will be performed for this paddy and at the end of the rite, the paddy will be distributed to the entire audience. Later, this paddy will be mixed with paddy seedlings that will be planted in the rice fields in the next year.  

Although hudoq rites are not identical, generally they require wooden masks, banana leaves and roots to be used for tying. The banana leaves will be split into several parts to form tassels that are tied together by their roots. The tassels will cover the waist, the thighs, the legs, the arms and the shoulders. Every time a hudoq rite is performed, fresh banana leaves must be used. After the rite, the banana leaves cannot be burnt but must be piled up and then left to rot to be later used as fertilizer.  

Hudoq performers are usually the people staying in the village where a hudoq rite is performed. The only hudoq that can be performed by guests or by dancers from other villages is the Hakaai hudoq dance. When a hudoq dance is performed, masks depicting pests in a rice field such as a monkey, a rat, a hog, a deer and a sparrow will also emerge to entertain the audience.  

Aside from the male hudoq dancers, there are also female hudoq dancers. Some are masked while others are not. Some have their bodies covered with the banana-leaf tassels but others do not. 

If the female hudoq dancers do not wear a mask, their faces and bodies will have colorful patterns painted on. These dancers carry household appliances such as baskets.  

The hudoq dances by the Dayak Bahau women depict how the Dayak go dating and raise their babies or how they catch fish and go hunting. The hudoq performed by the Dayak Bahau women are comical.  

It is interesting to note that in the Telivaq hudoq, the highest customary chief of hudoq is a woman.

Song Devung, 80, a hudoq customary chief, said that it was a Dayak Bahau woman that first laid down the hudoq custom and became the hudoq queen. That’s why even today the hudoq rite is led by a woman. This, clearly, reflects the egalitarian nature in the relationship between men and women in the Dayak Bahau community.***


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Master Carver Adds Guitars to Bali’s Rich Culture – Southeast Asia Real Time – WSJ

Master Carver Adds Guitars to Bali’s Rich Culture – Southeast Asia Real Time – WSJ.

GIANYAR, Bali—The resort island of Bali is known for a lot of things–beaches, artists, flowing rice paddies–but not guitars. Slowly but surely, Wayan Tuges is changing that.

I Made Sentana/Wall Street Journ
Wayan Tuges made sculptures before a visitor turned his attention to guitars. See more photos>> 

A wood sculptor who works from a humble workshop in one of the artisan-filled villages of central Bali, Mr. Tuges has produced hundreds of custom-made guitars over the past several years which have become collectors items across the world. Their success–some sell for as much as $8,800–has also shown how budding entrepreneurs even in remote corners of the world can connect to the global economy online–especially with a little luck.

Mr. Tuges’s achievement is all the more surprising given that stringed instruments are not part of the rich, traditional Balinese musical scene. Mr. Tuges didn’t even know to play the guitar, much less make one.

But that began to change a few years ago, when Mr. Tuges was visited out of the blue by a Montreal businessman and musician named Danny Fonfeder, who was looking for a craftsman he hoped could make ornate guitars in Bali during a business trip in Asia.  He brought a cheap guitar for Mr. Tuges to copy.

“I managed to make something that looked like a guitar, but it didn’t make any sound,” said the 60-year old Mr. Tuges, who learned the art of sculpturing from his father at a young age.


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