Kecak (pronounced: /'ke.tʃak/, roughly "KEH-chahk", alternate spellings: Ketjak and Ketjack), a form of Balinese music drama, originated in the 1930s and is performed primarily by men. Also known as the Ramayana Monkey Chant, the piece, performed by a circle of 100 or more performers wearing checked cloth around their waists, percussively chanting "cak" and throwing up their arms, depicts a battle from the Ramayana where the monkey-like Vanara helped Prince Rama fight the evil King Ravana. However, Kecak has roots in sanghyang, a trance-inducing exorcism dance.[1]

Kecak was originally a trance ritual accompanied by male chorus. German painter and musician Walter Spies became deeply interested in the ritual while living in Bali in the 1930s and worked to recreate it into a drama, based on the Hindu Ramayana and including dance, intended to be presented to Western tourist audiences. This transformation is an example of what James Clifford describes as part of the "modern art-culture system"[2] in which, "the West or the central power adopts, transforms, and consumes non-Western or peripheral cultural elements, while making 'art' which was once embedded in the culture as a whole, into a separate entity."[3] Spies worked with Wayan Limbak and Limbak popularized the dance by traveling throughout the world with Balinese performance groups. These travels have helped to make the Kecak famous throughout the world.

Performer, choreographer, and scholar I Wayan Dibia cites a contrasting theory that the Balinese where already developing the form when Spies arrived on the island.[4] For example, well-known dancer I Limbak had incorporated Baris movements into the cak leader role during the 1920s. "Spies liked this innovation," and it suggested that Limbak, "devise a spectacle based on the Ramayana," accompanied by cak chorus rather than gamelan, as would have been usual.

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Indonesian Black Pottery - Our stunning range of Black Pottery comes from the Beautiful Indonesian Island of Lombok. This pottery has regularly appeared in the Style Magazines and adds a touch of glamour to any home.
In art history, ceramics and ceramic art mean art objects such as figures, tiles, and tableware made from clay and other raw materials by the process of pottery, so excluding glass and also mosaic, normally made from glass tesserae. Some ceramic products are regarded as fine art, while others are regarded as decorative, industrial or applied art objects, or as artifacts in archaeology. They may be made by one individual or in a factory where a group of people design, make and decorate the ware. Decorative ceramics are sometimes called "art pottery".[1]

The word "ceramics" comes from the Greek keramikos (κεραμικος), meaning "pottery", which in turn comes from keramos (κεραμος), meaning "potter's clay." [2] Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made like that. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat.

There is a very long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures, like that of the Nok in Africa over 2,000 years ago. Cultures especially noted for fine ceramics include the Chinese, Cretan, Greek, Persian, Mayan, Japanese, Dominican, and Korean cultures, as well as the modern Western cultures.
Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics.
Pottery is the ceramic ware made by potters. Major types of pottery include earthenware, stoneware, and porcelain. The places where such wares are made are called potteries. Pottery is one of the oldest human technologies and art-forms, and remains a major industry today. Ceramic art covers the art of pottery, whether in items made for use or purely for decoration.

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Reog Ponorogo - Ponorogo is most well known for the reog mask dance, which is said to have been created by one of the kings of Kediri in the 12th century. The performance re-enacts a legendary battle between Pujangga Anom, a minister from the court of Ponorogo, and Singa Barong, guardian spirit of the forest of Lodoyo. The former had aroused the anger of Singa Barong when he stole 150 tigers from the forest, apparently to be offered as a dowry payment for a princess of Kediri, whom the king of Ponorogo wished to marry.

A typical reog troupe, then, usually consists of the principal characters; Singa Barong, wearing an enormous tiger head and peacock feather mask, and his adversary Pujangga Anom. They are accompanied by one or more masked clowns/acrobats, as well as a number of hobby horse dancers, who are said to represent the troops of Pujangga Anom.

The people of Ponorogo have a reputation for being tough, both physically and mentally. The qualities of bravery and daring are fully displayed in a reog performance, where the focus of attention is on a trance dancer supporting a giant mask, often weighing more than 40 kg, between his teeth. The mask is a ferocious, snarling tiger's head, covered in real tiger skin and crowned with a gigantic three meter fan of peacock feathers.

The success of a performance, including the ability of the principal dancer to bear the weight of the mask, is said to depend upon the magical power of the leader of the dance troupe. Known as warok, these men are believed to possess special talents, gained through years of training. One of the unique features of the reog dance is that the hobby horse (jaran kepang) dancers are invariably young boys dressed as women. Known as gemblak, they accompany the warok, who are forbidden close association with females, in their travelling performances.

Contest of Reog dance is presented annually by the local government. Ngebel, a natural lake and batik printing of ponorogo are also worthwhile seeing.
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Batik sandals from Yogyakarta - Javanese traditional batik, especially from Yogyakarta, has special meanings which is rooted to the Javanese idea of the universe. Traditional colours include indigo, dark brown, and white which represents the three major Hindu Gods (Brahmā, Viṣṇu,and Śiva), and certain patterns can only be worn by royals. Other regions of Indonesia have their own unique patterns which normally take themes from everyday lives, incorporating patterns such as flowers, animals or people. Batik or fabrics with the traditional batik patterns similar to the Indonesian batik are also found in several countries such as West Africa, Nigeria, Ghana, Cameroon, Uganda and Mali, the Caribbean, Saint Kitts and Nevis and Saint Lucia, and in Asia, such as India, Sri Lanka, Bangladesh, Iran, Philippines, Malaysia, Thailand and Burma.Batik has been both an art and a craft for centuries. In Java, Indonesia, batik is part of an ancient tradition, and some of the finest batik cloth in the world is still made there.

Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, wax recipes with different resist values and work with silk, cotton, wool, leather, paper or even wood and ceramics.Indonesian batik used for clothing normally has an intricate pattern. Traditionally, wider curves were reserved for batik produced for nobles. The traditional cloth has natural colors (tones of indigo and brown) while contemporary pieces have more variety of color.

Javanese batik typically includes symbols. Some decorative pieces may be mystically-influenced, and this type is very rarely used for clothing. Some may carry illustrations of animals or other intricate designs.
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Bamboo is the fastest-growing plant on Earth; it has been measured surging skyward as fast as 121 cm (47.6 inches) in a 24-hour period,[6] and can also reach maximal growth rate exceeding one meter (39 inches) per hour for short periods of time. Many prehistoric bamboos exceeded heights of 75 meters (250 feet). Primarily growing in regions of warmer climates during the Cretaceous, vast fields existed in what is now Asia. Modern bamboos can only sustain their maximal growth rate for short periods of time
Besides its use as a construction material, it is also used for fencemaking, bridges, toilets, walking sticks, canoes, tableware, decorative artwork carving, furniture, chopsticks, food steamers, toys, bicycles, hats, and martial arts weaponry, including arrow shafting, bows, bow backings, fire arrows, flame throwers and rockets. Also, abaci and various musical instruments, especially types of bamboo flute, such as the dizi, xiao, shakuhachi, palendag, jinghu, angklung, it can also be used in building tree forts that can hold a normal child's body weight. The Bamboo Organ of Las Piñas, Philippines has pipes made of bamboo culms. Bamboo is the traditional material used for bamboo fly rods for fly fishing. When bamboo is harvested for wood, care is needed to select mature stems that are several years old, as first-year stems, although full sized, are not fully developed and are not as strong as more mature stems.
In Indonesia, bamboo has been used for making various kinds of musical instruments. The most popular ones are the kolintang and the angklung.

Bamboo is used in indonesia to make chairs,wooden sofa,wooden beds,and as a framing for the traditional Filipino house, Nipa Hut.
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Kuda Lumping is a Javanese''s art. Later, this cultural tradition has spread more into the Indonesian mainstream since it was claimed by Johor society in Malaysia as part of their culture, in addition to Reog Ponorogo art.

Grounded in history, the Kuda Lumping was born to symbolize that the society had the power to face the enemy or fight the power of royal armies. Besides that, it also acted as a form of merry entertainment.

The Kuda Lumping is a form of dance that uses ''horses'' made from bamboo: it is accompanied by the gamelan orchestra, which uses instruments such as: the gong, kenong, kendang, and slompret. The Kuda Lumping amazes the audience with the dancing Kuda Lumping riders. The traditional Kuda Lumping dancers are performed by girls, wearing the uniform of the royal men-at-arms. Nowadays, the Kuda Lumping actors are male. The sounds of a big whiplash that whip these dancers, symbolizes the input of mystical powers that can take control of the players'' consciousness. By riding the horses ? with bells on their ankles ? the actors straddle the horses, jump up, and roll on the ground. Besides jumping up, the Kuda Lumping dancers perform other stunts, such as eating the shards of the lamp bulbs, and stripping the coconut fiber by the. They eat the shards of the lamp balls eagerly. They don''t feel pain, and there''s no blood when they eat the glass shards.
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