Yogya's carriage museum

"Come, come ... please. You see Museum Kereta (carriage museum)," were the words of a guide at Yogyakarta's Kraton (palace). He was most insistent that the visitor to the Kraton also came to the nearby Museum Kereta.

The walk to the museum is not far and visitors may benefit from the shade created by the kraton walls.

On arrival, a huddle of men chatting pause from their conversations and cigarettes to offer warm greetings and collect small entrance fees (Rp 3,000 and, if you want to use a camera, a further Rp 1,000 is required). Once inside, a visually impressive display awaits.

In what was evidently originally a stables, there are now a sizable collection of horse-drawn carriages, ranging from the huge, extravagantly and ornately decorated (to be drawn by as many as eight horses) to much smaller and simpler single-horse buggies.

Much of the collection, it seems, was put together by the Sultan of Yogyakarta, Sri Sultan Hamengkubowono VII. During his reign there was relative stability, as skirmishes and all-out wars were avoided. His reign was also seen as a period of relative wealth and thus the community could afford to spend money on these carriages.

The carriages date predominantly from the mid to late 19th century and the early 20th century. A significant number of them were made in the Netherlands, with one or two others made in Germany or Switzerland. Consequently the styles are European and typify designs of that period.

The craftsmanship and beauty of coach-building is apparent, and there some unusual and surprising aspects of coach-building also on display. For example, there is a suspension system for one carriage which uses large leather straps instead of the more common metal wishbone suspension system. The carriage appears to be suspended on the chassis rather like a hammock which swings between two trees. This is an unusual design, but there are also unusual things that happen to carriages on display.

It should perhaps be noted that the carriages are not just dusty old museum pieces stored away for static public viewing.

On special occasions, such as royal weddings, some of the carriages are still used in processions in Yogyakarta. There are also rituals and ceremonies which surround some of the carriages which adds another dimension to these museum pieces.

Certain carriages within the collection, like the carriage Garuda Yeksa, are considered sacred and therefore have specific cleaning or "bathing" rituals associated with them.

On Garuda Yeksa there is a small Garuda statue made of gold, but the Garuda is only cleaned on special occasions. It is believed polishing the Garuda would lead to a reduction of its weight in gold and so is only polished with extreme care, when absolutely necessary.

Other parts of carriages are cleaned, or bathed, ceremonially because they are considered to be sacred and so must be honored.

The carriage known as Kanjeng Nyai Jimad, for example, which was a gift from the King of Spain (but built in the Netherlands in the 1750s and one of the oldest carriages in the collection), is considered sacred and so once a year, in the Javanese month of Suro, it is 'bathed'.

The belief in the sacred nature of these carriages is exemplified by the fact that once the bathing ritual is complete, people collect and keep water which has touched the carriages. It seems the mere act of bringing the water into contact with the carriages transforms it into some kind of holy water.

Other carriages in the collection are perhaps more utilitarian and simple in design, but attractive also.

One carriage was once even used for racing, being smaller and set up for one horse to draw it at high speed.

There is one carriage, however, no one would wish to see in regular use; the coffin carrying carriage purchased in the 1930s. Again, it is one of the larger and more elaborate pieces in the collection, but is also quite a gloomy looking vehicle.

Its heavy, long and boxy upper body almost look too large for the wheels on which it sits. While gold is the predominant color, the overall appearance of the carriage seems faded, dull and sad.

On the walls of the museum there are old photographs of stable-hands and occasions when the carriages were used, but these tend to suggest the carriages are relics of a by-gone era.

Some of the carriages, indeed do, sadly, look a bit relic-like with torn interior upholstery which contrasts with the well kept exteriors.

Also in cabinets in the museum are saddles and uniforms used by the coachmen and guards who would have steered the carriages and accompanied them on horseback in processions.

All told, the collection in the museum is a reminder of the regal elegance that was once present with horse-drawn carriages.

Ramayana Ballet, a Drama in Typical Javanese Dance

Ramayana ballet is an art performance that is so beautiful, admiring and it is difficult to compare. This performance is able to unite various Javanese arts such as dance, drama and music on one stage and one momentum to present the Ramayana story, a legendary epos written by Walmiki in Sanskrit language.

Ramayana story presented in this performance is similar to that engraved on Prambanan temple. As people tell, Ramayana story that is engraved on the most beautiful Hindu temple is similar to the story in oral tradition in India. The long and straining story is summarized in four scenes, namely the kidnapping of Shinta, Anoman's mission to Alengka, the death of Kumbakarna or Rahwana, and the meeting of Rama-Shinta.

The entire story is presented in a series of dance movements done by beautiful dancers accompanied by gamelan music. You are invited to really plunge into the story and observe each mov

ement of the dancers to know the coarse of the story. There is no dialog among the dancers. The only storyteller is the sinden or the female singer who describes the coarse of the story through Javanes songs with her typical voice.

The story begins when Prabu Janaka held a contest to determine the would-be husband for Shinta, his daughter that finally was won by Rama Wijaya. The scene is continued with the adventure of Rama, Shinta and Rama's younger brother named Laksamana in Dandaka forest. There, they met Rawana that was eager to posses Shinta since she was considered the reincarnation of goddess Widowati, a woman that he had been seeking for long.

In order to attract Shinta's attention, Rahwana changed one of his followers named Marica into a deer. The effort was successful when Shinta was attracted and asked Rama to chase the deer. When Rama did not show up after a while, Laksmana went to find Rama and left Shinta herself by protecting her with a magic circle around her in order that nobody would be able to kidnap her, including Rahwana. The protection failed to keep Shinta in the place since Rahwana succeeded in kidnapping her by changing himself into Durna character.

At the end of the story, Hanoman, the white, powerful monkey succeeded in taking Shinta from Rahwana. When she returned, however, Rama did not trust her anymore. He considered Shinta disgraced. In order to prove her virginity and holiness, Shinta was asked to burn herself. Shinta proved her holiness when she was not burned at all even she became more beautiful. Finally, Rama accepted her as his wife.

You will not be disappointed to see this excellent performance. They do not only prepare the dance and music, but also the lighting that is set in such a way to be able to describe certain events in that story. The make up of the dancers does not only make them beautiful but it is capable of describing the characters they perform so that spectators easily know the characters even though there is no dialog.

You will see not only the dance but also interesting acts such as fireball game and acrobat. The fireball game is presented when Hanoman that initially would be fired alive turned to be successful in burning Alengkadiraja Kingdom owned by Rahwana. The acrobat is seen when Hanoman fights against Rahwana's followers. The fireball when Shinta would be burned is also interesting to see.

There are two places in Yogyarta where Ramayana ballet is performed. First, in Purawisata Yogyarta that is located on Jalan Brigjen Katamso, to the east of Yogyakarta Kingdom. In the place that was recorded in Indonesian Record Museum in 2002 for performing Ramayana ballet for 25 years, you will enjoy dinner while seeing the ballet. The other place to see the ballet is the open stage and Trimurti closed-stage in the complex of Prambanan temple.

Ticket Fare for Ramayana Ballet in Prambanan Temple Tourism Complex.

Trimurti closed-stage

• Special: IDR 125,000
• Class 1: IDR 100,000
• Class 2: IDR 50,000
• Students: IDR 15,000 (by submitting proposal letter from school

Ramayana open stage

• VIP: IDR 200,000
• Special: IDR 125,000
• Class 1: IDR 100,000
• Class 2: IDR 50,000
• Students: IDR 15,000 (by submitting proposal letter from school)

Sundak Beach

Sundak Beach does not only have enchanting natural view but it also keeps story. The name Sundak turns to experience evolution of which evidences can be traced geologically.

In order to know its evolution, visitors must know first the condition the sea sides of Sundak Beach in the past and at present time. At the west side of the beach there is a mosque and a vacant space that is now utilized as a parking area. On the east side, there is a cave made of coral reef as high as around 12 meters. Entering the cave, there is a spring from which local people get fresh water.

Before 1930 the above area was still under sea water. The story tells that sea water reached the area where the mosque stands now and the cave was submerged in sea water. In line with geological process in the south sea, the sea water level decreased and sea water stood out more to the sea. The coral reef and the area around the mosque became new land that later coastal people used it for economy activities until today.

There was unique, natural phenomenon of the activity that finally served as starting point of naming this beach. When rainy season came, there was much water from the land flowing to the sea. Consequently, the land on east side of the beach split to make a river-look form. The flowing water looked like splitting the sand. When dry season came, the crevice disappeared since the sea water came ashore and drag away the sand. The name Wedibelah (the split sand) originated from this natural phenomenon. When YogYES visited the place, the crevice did not exist.

Tens of years later the name changed. In 1976, there was an interesting occurrence. In an afternoon, there was a dog running about the seaside and entered the cave where it met a sea urchin. Being starving, the dog tried to prey on the sea urchin but the sea urchin avoided. Then, the fight happened and finally the dog succeeded in eating half of the sea urchin body and the dog got out of the cave proudly. The owner of the dog, Arjasangku, saw half of the sea urchin body was still in the dog's mouth. Since then, the name Wedibedah was changed into Sundak as an abbreviation of asu (Javanese language for dog) and landak (Javanese language for sea urchin).

The quarrel turned to bring fortune for local people. After being short of water for years, local people finally found a spring. Initially, the owner of the dog was astonished that his dog was soaking wet after getting out of the cave. The hypothesis was that there was a spring inside the cave and the dog might fall in it while hunting the sea urchin. After some investigations, the prediction turned out to be true. Now, the spring functions as source of fresh water for local inhabitants. Pipes are now installed from the cave to distribute water to the community. The finding of the spring consoled the community who were disappointed because the wells that they dug were inundated by sea water.

Just imagine the condition of the area hundreds of years ago when we know its condition in 1930s. There had to be many organisms that utilized the lower part of the coral reef that now functions as a cave. For the reason, many archeologists believe that as the consequence of the occurring geological process, there were many sea organisms were left and piled up as fossils. Not many researches reveal what fossils exist in the area.

In addition to offering its silent historical witnesses, Sundak also offers enjoyable night atmosphere. You can enjoy the breeze of the night wind while ordering fresh fish to be grilled together with your friends. You only have to pay some thousands Rupiah for the firewood. If you are reluctant to do so, just order ready-to-eat grilled fish. To spend the night, you can just sleep anywhere; you can put up your tent or just lying on the bench of food sellers that are not used at night. Darkness can sometimes be more enjoyable than brightness. Don't worry about it.

If you want it, interact with local people can be valuable enlightenment. You can understand how people live their lives, their culture, and they might change your life point of view. To see Grandpa Tugiman who usually keeps the parking area or Grandpa Arjasangku can be another option. They are examples of the leaders of Sundak Beach. To have a talk with them does not only make you merely see the history witnesses but it enables you get direct story from the witnesses of how the story was carved. Please come, they all are waiting for you! (YogYES.COM)