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Lokasi Menyelam Paling Menakjubkan di Indonesia

Lebih dari 5 juta meter persegi perairan mengelilingi negara kepulauan Indonesia. Tidak diragukan lagi, Indonesia menjadi tempat bernaung bagi ratusan bahkan ribuan spesies makhluk bawah air dan gugusan karang yang indah dan berwarna-warni. Pastinya negara ini menawarkan banyak lokasi penyelaman yang merupakan impian kebanyakan penyelam.

Akibat keadaan politik yang sering bergejolak dan peringatan untuk wisatawan yang biasanya terlalu berlebihan, Anda akan jarang menemukan negara ini dalam daftar perjalanan kebanyakan turis. Untungnya bagi wisatawan yang berani dan berjiwa petualang, ini berarti lebih sedikit turis dan lebih banyak ketenangan, sehingga Anda lebih dapat menikmati keindahan sesuka Anda. Berikut adalah daftar dari delapan tempat menyelam yang menakjubkan di Indonesia.

about Indonesia

Indonesia , officially the Republic of Indonesia (Indonesian: Republik Indonesia), is a country in Southeast Asia and Oceania. Indonesia comprises 17,508 islands and thirty three provinces. With over 238 million people, it is the world's fourth most populous country, and has the world's largest population of Muslims. Indonesia is a republic, with an elected legislature and president. The nation's capital city is Jakarta. The country shares land borders with Papua New Guinea, East Timor, and Malaysia. Other neighboring countries include Singapore, Philippines, Australia, and the Indian territory of the Andaman and Nicobar Islands. Indonesia is a founding member of ASEAN and a member of the G-20 major economies. The Indonesian economy is the world's eighteenth largest economy by nominal GDP and fifteenth largest by purchasing power parity.



The Indonesian archipelago has been an important trade region since at least the 7th century, when Srivijaya and then later Majapahit traded with China and India. Local rulers gradually absorbed foreign cultural, religious and political models from the early centuries CE, and Hindu and Buddhist kingdoms flourished. Indonesian history has been influenced by foreign powers drawn to its natural resources. Muslim traders brought Islam, and European powers brought Christianity and fought one another to monopolize trade in the Spice Islands of Maluku during the Age of Discovery. Following three and a half centuries of Dutch colonialism, Indonesia secured its independence after World War II. Indonesia's history has since been turbulent, with challenges posed by natural disasters, corruption, separatism, a democratization process, and periods of rapid economic change.

Across its many islands, Indonesia consists of distinct ethnic, linguistic, and religious groups. The Javanese are the largest—and the politically dominant—ethnic group. Indonesia has developed a shared identity defined by a national language, ethnic diversity, religious pluralism within a majority Muslim population, and a history of colonialism including rebellion against it. Indonesia's national motto, "Bhinneka Tunggal Ika" ("Unity in Diversity" literally, "many, yet one"), articulates the diversity that shapes the country. Despite its large population and densely populated regions, Indonesia has vast areas of wilderness that support the world's second highest level of biodiversity. The country is richly endowed with natural resources, yet poverty remains widespread in contemporary Indonesia

Population of Indonesia

The population of Indonesia according to the 2010 national census is 237.6 million, with 58% living on the island of Java, the world's most populous island.



Despite a fairly effective family planning program that has been in place since the 1960s,[4] the population is expected to grow to around 254 million by 2020 and 288 million by 2050,[5] falling to fifth behind Pakistan sometime before 2050.

Bali wins best Island award

Bali has again been recognized by a distinguished travel magazine as the best island in the Asia-Pacific region for 2009, Antara has reported.

"Bali has been honored as The Best Island in Asia Pacific 2009 by DestinAsian Magazine in Hong Kong," Culture and Tourism Ministry's director for promotion facilities Esthy Reko Astuty said Thursday.


She said Bali won the honor through a poll in DestinAsian Readers' Choice Awards in a survey which sought readers' opinions on their favorite destinations, hotels, and airlines in the Asia-Pacific region and announced every February.

"Bali has been chosen four times consecutively as the Best Island in Asia Pacific by DestinAsia Magazine since 2006," she said.

According to Bali Tourism Office records, Bali has garnered at least 25 awards from various international magazines and countries since 1998. Most of the awards were given to Bali for its unique destination and natural beauty found nowhere else in the world.

Kebaya - National Costume

A Kebaya is a traditional blouse-dress combination worn by women in Indonesia. It is sometimes made from sheer material and usually worn with a sarong or batik kain panjang, or other traditional woven garment such as ikat, songket with a colorful motif.

The kebaya is the national costume of Indonesia, although it is more accurately endemic to Java, Sunda and Bali.

Etymology

Kebaya is inspired from Arab region clothing; the Arabic word abaya means clothing.

History

The earliest form of Kebaya originates in the court of the Javanese Majapahit Kingdom as a means to blend the existing female Kemban, torso wrap of the aristocratic women to be more modest and acceptable to the newly adopted Islam religion. Aceh, Riau and Johor Kingdoms and Northern Sumatra adopted the Javanese style kebaya as a means of social expression of status with the more alus or refined Javanese overlords.

The name of Kebaya as a particular clothing type was noted by the Portuguese when they landed in Indonesia. Kebaya is associated with a type of blouse worn by Indonesian women in 15th or 16th century. Prior to 1600, kebaya on Java island were considered as a sacred clothing to be worn only by royal family, aristocrats (bangsawan) and minor nobility, in an era when peasant men and many women walked publicly bare-chested.

Slowly it naturally spread to neighbouring areas through trade, diplomacy and social interactions to Malacca, Bali, Sumatra, Borneo, Sulawesi and the Sultanate of Sulu and Mindanao  Javanese kebaya as known today were noted by Raffles in 1817, as being of silk, brocade and velvet, with the central opening of the blouse fastened by brooches, rather than button and button-holes over the torso wrap kemben, the kain (and unstitched wrap fabric several metres long erroneously termed 'sarong in English (a sarung (Malaysian accent: sarong) is stitched to form a tube, like a Western dress) After hundreds of years of regional acculturation, the garments have become highly localised expressions of ethnic culture, artistry and tailoring traditions.



The quintessential kebaya is the Javanese kebaya as known today is essentially unchanged as noted by Raffles in 1817. It consists of the blouse (kebaya) of cotton , silk, lace, brocade or velvet, with the central opening of the blouse fastened by a central brooch (kerongsang) where the flaps of the blouse meet. Traditional kebaya had no buttons down the front. A typical three-piece kerongsang is composed of a kerongsang ibu (mother piece) that is larger and heavier than the other two kerongsang anak (child piece). Kerongsang brooch often made from gold jewelry and considered as the sign of social status of aristocracy, wealth and nobility, however for commoners and peasant women, simple and plain kebaya often only fastened with modest safety pin (peniti).

The blouse is commonly semi-transparent and worn over the torso wrap or kemben. The skirt or kain is an unstitched fabric wrap around three metres long. The term sarong in English is erroneous, the sarung (Malaysian accent: sarong) is actually stitched together to form a tube, like a Western dress- the kain is unstitched, requires a helper to dress (literally wrap) the wearer and is held in place with a string (tali), then folded this string at the waist, then held with a belt (sabuk or ikat pinggang), which may hold a decorative pocket.


Varieties

There are two main varieties. The blouse, known as baju kebaya may be of two main form: the semi-transparent straighter cut blouse of the Java, Bali and the more tightly tailored Sunda kebaya and the more Islamic compatible, plainer baju kurung is a loose-fitting, knee-length long-sleeved blouse worn in the more adherent Muslim areas- including former Kingdom of Johor-Riau (now Malaysia), Sumatra and parts of coastal Java.

In Java, Bali and Sunda, the kain is commonly batik which may be from plain stamped cotton to elaborately hand-painted batik tulis embroidered silk with gold thread. In Lampung, the kain is the traditional tapis- an elaborate gold-thread embroidered ikat with small mica discs. Sumatera, Flores, Lemata Timor, and other islands commonly use kain of ikat or songket. Sumba is famous for kain decorated with lau hada: shells and beads.

During Dutch colonization of the island, European women began wearing the less restrictive and cooler kebaya as a formal or social dress. European women wore shorter sleeve and total length cotton in prints.
The day kebaya of the Eurasians was of white cotton trimmed with European handmade lace- commonly from Bruges or Holland and black silk for evening wear.

In the Malacca region, a different variety of kebaya is called "nyonya kebaya" worn by those of Chinese ancestry: the Peranakan people. The Nyonya kebaya is different in its' famously intricately hand-beaded shoes (kasut manek) and use of kain with Chinese motive batik or imported printed or hand-painted Chinese silks.
[edit] Political Significance

The only woman present during Indonesia's Proclamation of Independence, Dutch-educated activist SK Trimurti- wore kebaya cementing it as the female dress of Nationalism.
In Japanese internment camps during the Second World War, Indonesian female prisoners refused to wear the Western dress allocated them and instead wore kebaya as a display of Nationalist and racial solidarity separate from fellow Chinese, Europeans and Eurasian inmates.

The 21st of April is celebrated in Indonesia as National Kartini Day where Raden Ayu Kartini, the female suffragist and education advocate is remembered by schoolgirls wearing traditional dress according to their region. In Java, Bali and Sunda it is the kebaya.

Cultural rivalry between Malaysian and Indonesia has given rise to media-based spats over the true ownership of the 'kebaya.

Former President Megawati Sukarnoputri is a public champion of kebaya and wears fine red kebaya whenever possible in public forums and 2009 Presidential election debates.

The Suharto-era bureaucrat wives' social organisation Dharma Wanita wears a uniform of gold kebaya, with a red sash (selendang) and stamped batik pattern on the kain unique to Dharma Wanita. The late Indonesian first lady and minor aristocrat Tien Suharto was also a prominent advocate of the kebaya.


Modern Usage and Innovations

Apart from traditional kebaya, fashion designers are looking into ways of modifying the design and making kebaya a more fashionable outfit. Casual designed kebaya can even be worn with jeans or skirts. For weddings or formal events, many designers are exploring other types of fine fabrics like laces to create a bridal kebaya.

Modern-day kebaya now incorporate modern Western tailoring innovations such as clasps, zippers and buttons- zippers being a much appreciated addition for ladies' requiring the bathroom, without requiring being literally unwrapped by a helper- to the extent the true kain is near unanimously rejected.

Other modern innovations have included the blouse baju kebaya worn without the restrictive kemben, and eve the kebaya blouse worn with slacks or made of the fabric usually for the kain panjang.

Modern kebaya blouses are also zippered at the back- for practicality and for larger frame women's busts not to literally burst out the front of their blouse.

The "Singapore Girl" uniform worn by Singapore Airlines stewardesses is a rather more tight-fitting interpretation of the traditional costume by French haute couture designer Pierre Balmain in 1972, considered provocative and exploitative by some[who?] at the time. The female flight attendant of Malaysia Airlines also featuring batik kebaya as their uniform.

The female uniform of Garuda Indonesia flight attendants is more authentic modern interpretations, the kebaya is designed in simple yet classic kartini style kebaya derived from 19th century kebaya of Javanese noblewomen. The kebaya made from fire-proof cotton-polyester fabrics, with batik sarongs in parang or lereng gondosuli motif, which also incorporate garuda's wing motif and small dots represent jasmine.

Types and Variations of Batik

Javanese Kraton Batik (Javanese court Batik)

Javanese kraton (court) Batik is the oldest batik tradition known in Java. Also known as Batik Pedalaman (inland batik) in contrast with Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (sogan), sometimes against a white background. The motifs of traditional court batik have symbolic meanings. Some designs are restricted: larger motifs can only be worn by royalty; and certain motifs are not suitable for women, or for specific occasions (e.g., weddings).

The palace courts (keratonan) in two cities in central Java are known for preserving and fostering batik traditions:

1.    Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.
2.   Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman court. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.

Pesisir Batik (Coastal Batik)

Pesisir batik is created and produced by several areas on the northern coast of Java and on Madura. As a consequence of maritime trading, the Pesisir batik tradition was more open to foreign influences in textile design, coloring, and motifs, in contrast to inland batik, which was relatively independent of outside influences. For example, Pesisir batik utilizes vivid colors and Chinese motifs such as clouds, phoenix, dragon, qilin, lotus, peony, and floral patterns.

•     Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java province. Compared to other pesisir batik production centers, the batik production houses in this town is the most thriving. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
•     Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon Kraton. This cloud motif shows Chinese influence.
•     Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.
•     Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics.
•     Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.

Indonesian Batik from other areas

Java

1.     Priangan Batik or Sundanese Batik is the term proposed to identify various batik cloths produced in the "Priangan" region, a cultural region in West Java and Northwest Java (Banten).[17] Traditionally this type of batik is produced by Sundanese people in the several district of West Java such as Ciamis, Garut, an Tasikmalaya; however it also encompasses Kuningan Batik which demonstrate Cirebon Batik influences, and also Banten Batik that developed quite independently and have its own unique motifs. The motifs of Priangan batik are visually naturalistic and strongly inspired by flora (flowers and swirling plants) and fauna (birds especially peacock and butterfly). The variants and production centers of Priangan Batik are:
2.      Ciamis Batik. Ciamis used to rival other leading batik industry centers in Java during early 20th century. Compared to other regions, Ciamis batik is stylistically less complex. The flora and fauna motifs known as ciamisan are drawn in black, white, and yellowish brown. Motifs are similar to coastal Cirebon Batik, but the thickness of coloring share the same styles as inland batik. The thick coloring of Ciamis batik is called sarian.
3.       Garut Batik. This type of batik is produced in the Garut district of West Java. Garutan batik can be identified by its distinctive colors, gumading (yellowish ivory), indigo, dark red, dark green, yellowish brown, and purple. Ivory stays dominant in the background. Despite applying traditional Javanese court motifs such as rereng, Garut batik uses lighter and brighter colors compared to Javanese court batik.
4.        Tasikmalaya Batik. This type of batik is produced in the Tasikmalaya district, West Java. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
5.        Kuningan Batik.
6.        Banten Batik. This type of batik employs bright and soft pastel colors. It represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002-2004. Twelve motifs from locations such as Surosowan and several other places have been identified.

    * Java Hokokai Batik. This type is characterized by flowers in a garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s. The long fabrics usually is done in two pattern called pagi/sore (Indonesian: morning and afternoon) refer to two type of motifs in one sheet of fabric, as the solution of cotton fabrics scarcity during war time. Another recognizable traits of Java Hokokai batik are the Japanese influenced motifs; such as sakura (cherry blossoms) and seruni or kiku (chrysanthemums, Japan national flower and the symbol of the emperor), butterflies (symbol of female elegance in Japanese culture), and overlaying intricate details that has made Jawa Hokokai batiks as one of the most notable, noble and beautiful batik artform in Asia.

Bali

    * Balinese Batik. Balinese batik was influenced by neighbouring Javanese Batik and is relatively recent compared to the latter island, having been stimulated by the tourism industry and consequent rising demand for souvenirs (since the early 20th century). In addition to the traditional wax-resist dye technique and industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye). Balinese batik is characterized by bright and vibrant colors, which the tie dye technique blends into a smooth gradation of color with many shades.

Sumatra

    * Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, the northern coastal areas of Java (Cirebon, Lasem, Tuban, and Madura) probably influenced Jambi in regard to batik. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing Jambi batik. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay peninsula.

Modern

Out of its traditional context, batik can also be as a medium for artists to make modern paintings or art. Such arts can be categorized in the normal categorization of arts of the west.