Instituciones, organizaciones, contactos
Permanent Delegation of the Republic of Indonesia to UNESCO
Maison de l’UNESCO
1, rue Miollis
75732 PARIS Cedex 15
Indonesian National Commission for UNESCO
Ministry of National Education
Gedung C. , Lt 17
Jalan Jenderal Sudirman - Senayan
Este país no ha designado todavía una autoridad nacional en cargo de las cuestiones relativas al uso del emblema de la Convención para la Salvaguardia del Patrimonio Cultural Inmaterial
Véase mas sobres el uso del emblema
Centro(s) de categoría 2
Centro Internacional de Información y Redes sobre el Patrimonio Cultural Inmaterial para la Región Asia y el Pacífico (República de Corea)
ONGs acreditadas ubicadas en este país
|Nombre, dirección y fuente||Actividades en el PCI|
|Asosiasi Tradisi Lisan (ATL)|
Oral Tradition Association - ATL [en]
JI. Menteng Wadas Timur No. 8
Fecha de creación: 1996
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
• To hold various activities involving researchers, observers, people interested in oral traditions, and those who support oral traditions, in order to develop their potentials.
• To appreciate and introduce the diversity of our cultural heritage, especially oral traditions, using three approaches, Le. science / education, documentation, and performance, including its publications.
• To organize accompanying programs (applied programs) preceded by research / deep observation in order to develop oral traditions and their supporting communities by means of conservation activities, reservation, preservation, and revitalization.
• To work on the re-functioning of certain oral traditions among communities, both in their original forms and in their modified or transformed forms.
• To assist the government and the general public by providing services in information, documentation, publication, research, and the advancement of oral traditions in order to create a network of information formed among various individuals and institutions.
• Research in the various regions such as : oral tradition of Suku Anak Dalam in Jarnbi (Continuities and discontinuities), Mabissu (Buginese dance ritual), Makyong Performance in province of Kepulauan Riau, Bedalung: oral tradition of Suku Laut (the Sea Tribe) in Province of Bangka Belitung and the art of "Tenun Ikat Flobamora" in East Nusa Tenggara.
• In cooperation with the national education department provides scholarships namely study of oral traditions program (MoU for five years 2009-2010). This program prepares grants a scholarships especially for this programmed for M.A. students and PhD student in Indonesia. Participants are young lecturers
from various universities around Indonesia. After completing their studies are expected to return home to teach at various universities This program also to train and prepare a number of scholars for research and
fieldwork on endangered languages and cultural activities in different areas all over Indonesia. Primarily it is necessary to conduct a general survey to understand the present situation of intangible cultural heritage in Indonesia, and to plan a strategy of protecting the most endangered species.
• Besides that, ATL is preparing Internasional Seminar and Festival of oral tradition in Bangka on November 2010 (Lisan VII Festival).
As matter of fact, the "spearhead" of the ATL's success is the speakers or storytellers, the shamans, the syeh (teachers ofIslam), the datuk (the elders), and tribal elders from various regions in Indonesia. Nevertheless, we have to express our gratitude to the researchers and resource persons who helped ATL in designing and carrying out our revitalization and accompanying programs i.e. Drs. M. Hamidi, M. Hum (Jakarta), Dr. Tabir Sitepu (Medan), Prof. Dr. Suripan Sadi Hutomo (Surabaya), Dr. Aminuddin (Malang), Prof. Dr. Mursal Esten (Padang Panjang). In addition, we would like to express our most sincere gratitude to cultural experts and artists, such as the late B.M. Syamsuddin (Pekanbam), King Hamzah Yunus (Penyengat Island), and Tengku M. Atan Rahman (a Mak Yong artist from East Bintan).
|Sekretariat Nasional Perkerisan Indonesia (SNKI)|
Indonesian National Kris Secretariat [en]
Graha STR, Suite 401
Jalan Ampera Raya No 11B
Jakarta Selatan, 12550
Tel.: +62 21 781 4169 / 780 8068 // mobile: +62 811841996
Fecha de creación: 2006
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
During the drafting of the nomination file of Indonesian Kris, community members called for establishment of a national Kris institution. This call was included as Section (g) 1.7.2 of the Action Plan for Safeguarding, Revitalization and Development of the Culture of the Indonesian Kris. Thus representatives of 15 paguyban associations of Kris enthusiasts, educational institutions and museums, gathered together in friendship and mutual respect at Vredeburg Fort Museum, Yogyakarta for the 2nd National Kris Seminar, and on 12th April 2006 witnessed by government officials, declared the establishment of SNKI (Indonesian National Kris Secretariat).
The Declaration stated the Objectives of SNKI: To facilitate communication and collaboration between paguyuban associations of Kris enthusiasts, educational institutions. Individual Kris enthusiasts and experts, in order to safeguard, revitalize and develop Kris culture and to interact with institutions of the central government and international institutions. The objectives of SNKI are further detailed:
1.To endeavor to safeguard, revitalize and develop Indonesian Kris as a cultural heritage of our Nation and as an oral and intangible heritage according to the 3rd UNESCO Proclamation.
2. To safeguard and facilitate the activities of pagyuban kris associations all over Indonesia.
3. To endeavor to carry out documentation and dissemination of information both in printed form as well as through electronic media, regarding all aspects of Kris all over Nusantara (Indonesia), which is referred to as Kris science or krisology.
4. To organize exhibitions, festivals, exchange of information, consultation among those who like and give attention to Kris, Kris craftsperson both on a national and international level.
5. To coordinate efforts to develop human resources in the field of kris
6. To facilitate the Action Plan for the Protection, Revitalization and Development of the Culture of the Indonesian Kris.
7. To communicate and collaborate with government (including across Ministries/Departments) and private institutions and individuals on a national and international level (e.g. UNESCO) to advance Indonesian Kris culture.
8. To endeavor to unite the vision and mission of Indonesian Kris culture.
9. To carry out activities which are deemed necessary to advance Kris culture in Indonesia.
The competence of the paguyuban associations of Kris enthusiasts which are members of SNKI is that they have studied Kris intangible cultural heritage mostly through informal training in discussion among themselves, and by reading books and magazines about Kris. Many of them are collectors of Kris. Some are Kris master-craftsmen (empu), or makers of the accessories of the Kris. The universities which teach Kris culture and museums possess more scientific knowledge of Kris, and are making a concerted effort to transmit kris culture to younger generations.
Activitiess of SNKI, 2006 – 2011
1. SNKI was declared in Yogyakarta on 12th March 2006 at the 2nd National Kris Seminar at Vredeburg Fort Museum in Yogyakarta.
2. Subsequently Articles of Association and By-Laws were drawn up and adopted in April 2006.
3. The Board of Executive Management for 2006 – 2011 was established by decision No. 01/V/SNKI/2006 dated 2nd May 2006 and held regular meetings.
4. The Secretary-General of SNKI, assisted by the members of the Board of Executive Management, has regularly guided and assisted paguyuban associations of Kris enthusiasts and Kris craftspersons in many areas. Initially, SNKI was declared by 15 paguyuban associations, educational institutions and museums. Now SNKI has grown to include 71 paguyuban associations, educational institutions and museums. (See documentation)
5. SNKI has published a cultural magazine called “Keris” (Volume 1 to Volume 26). This magazine has elevated respect for Kris culture in the eyes of the public. SNKI assisted the publication of a magazine called “Pamor”, published by Paguyuban Panji Nusantara. This magazine increased public awareness of Kris culture.
6. SNKI participated in a Seminar on Kris in the Scientific Perspective, organized by the Centre for Research and Development of Culture at STSI Surakarta (Arts University) in 2010. The seminar resulted in publication of a book entitled Kris in the Scientific Perspective, containing essays by some 12 experts, including from SNKI. This book fulfills a desire by community members to develop “krisology” as a science.
7. SNKI participated in an exhibition and seminar entitled “Keris for the World” at the National Gallery, Jakarta, 3rd-8th June 2010. This event was opened by the (then) Minister for Culture and Tourism, and succeeded in increasing public and media awareness of Kris intangible cultural heritage.
8. SNKI has supported the development of a Kris studies curriculum at STSI (now ISI) arts university in Surakarta and also informal training in Kris intangible cultural heritage at traditional schools of Kris culture (sanggar). This has helped to strengthen transmission of Kris cultural heritage, particularly to the younger generation.
9. From 2006-2010 SNKI participated in many exhibitions and seminars on Kris, in Jakarta and on other places all over Indonesia.
10. SNKI has given many interviews on Kris to the press and media, which has enhanced public awareness of Kris cultural heritage.
Recent SNKI Activities 2011-2012
1. Madiun. Exhibition and Seminar on Kris. 2011
2. Competition on Aesthetics of Kris, Sept 2011. Yogyakarta.
3. Samarinda. Establishment of paguyuban association of kris enthusiasts , Samarinda, East Kalimantan, March 2012
4. Pekalongan. Dedication of Tosan Aji Kris Museum, Februari 2012
5. Semarang. Discussion on interpretation of the symbolism of the dhapur (form of the kris blade) and pamor (damascene pattern on the kris blade), March 2012
6. Special Exhibition of Kris Hilts Bentara Budaya, Jakarta, May 2011
7. Exhibition of Bugis (South Sulawesi) Kris, Jakarta, Desember 2011
8. Exhibition of Kris from Sumatra, Beautiful Indonesia in Miniature Theme Park (TMII), Jakarta.
9. Karang Anyar. Dedication of Brojo Buwono museum and kris forge, May 2012
10. Salatiga, Training for Profession Certification of Kris Craftspersons.
11. MOU of collaboration between SNKI and TMII, Friday, specifically related to guidance of the Museum Pusaka Kris Museum at TMII, 26th May 2012
12. First Congress of SNKI 18th-20th April 2011. Report of Board of Executive Management 2006-2011, Amendment of Articles of Association, Drafting of Work Plan, Election of Executive Management Board for 2011-2016. Exhibition of kris.
13. Kirab Keris – Kris Parade, April 2011, Surakarta, Central Java, from the office of the Mayor of Surakarta, to the Pura Mangkunegara Palace.
14. Candi Ceto ancient temple, Karang Pandan. Jamasan Keris (ritual and bathing of kris. Many members of Pasopati paguyuban association were present
15. Kris Adoption Paguyuban Association, founded at Sukoharjo, Central Java.
16. Formation of Task Force and Think Tank of SNKI, April 2012.
17. Establishment of National Kris Foundation to support activities of SNKI. May 2012
18. Kris seminar at Ministry of Culture and Tourism, September 2011
SNKI was established as part of an Action Plan to safeguard Kris cultural heritage, by the collective desire of 15 paguyuban associations of Kris enthusiasts, educational institutions teaching Kris cultural heritage, and museums exhibiting Kris from communities from all over Java, Bali and Nusa Tenggara Barat Provinces, who had gathered together in a spirit of friendship and mutual respect to attend the 2nd National Kris Seminar. The Declaration of SNKI was witnessed and facilitated by relevant government officials from the (then) Department of Culture and Tourism, on 12th March 2006 in Vredeburg Fort (Museum) in Yogyakarta. Since its founding, SNKI has tried to carry out the safeguarding activities of Kris cultural heritage as suggested by Kris community members, as reflected in the Action Plan, and has always involved these paguyuban associations of Kris enthusiasts in all activities for safeguarding Kris intangible cultural heritage.
Since that time, through ongoing interaction with Kris community members all over Indonesia, SNKI has grown and developed, and now includes some 71 paguyuban associations of Kris enthusiasts, educational institutions dealing with Kris, museums exhibiting Kris, and social networks of Kris enthusiasts. SNKI has also developed networking with paguyuban associations and Kris enthusiasts beyond Java, Bali and Nusa Tenggara Barat, namely from Sumatra, Kalimantan and Sulawesi islands. Interaction with Kris enthusiasts has recently developed through social networks via mobile phone communication. These social networks were officially made members of SNKI and participated actively in the 1st SNKI Congress in Surakarta in April 2011.
Since its inception, SNKI has interacted continuously with all these communities related to Kris cultural heritage on an ongoing basis, by holding regular meetings, seminars, exhibitions, and by regular communication.
|Sekretariat Nasional Pewayangan Indonesia|
Indonesian National Wayang Secretariat - SENA WANGI [en]
Gedung Pewayangan Kautaman
First Floor Jalan Pintu I TMII
Tel.: +62-21 877 99 388; +62-813 820 61788
Fecha de creación: 1975
- oral traditions and expressions
- identification, documentation,
research (including inventory-making)
In the effort to conserve and develop wayang, the vision of SENA WANGI is the desire
To make wayang one of the pillars of national culture. For this purpose, the art of wayang should become a vehicle and mouthpiece of culture in order to uplift the quality and standard of humanity.
• To establish its role as a body for the conservation, preservation and innovation of the art of wayang
• To develop the art of wayang in accordance with the challenges of the present age
• To increase the appreciation of society with regards to the arts of wayang especially among the younger generation
• To spread within society the philosophical values and moral messages contained in wayang arts in the life of the people
• To apply principles of management, including communication and collaboration with institutions or individuals both within Indonesia and overseas, in developing wayang art
• To create an institution of critique of wayang arts.
The strategic program of SENA WANGI involves four basic program, namely formulation and establishment of policy for conservation and development of wayang ; research and development; documentation and information; and overseas connections.
• Formulation and establishment of policy for conservation and development of wayang
• Research and development of wayang, both classic and innovative
• Documentation and information about wayang through Indonesia Wayang Database Centre (PDWI) and its website
• Development of organization, bodies and traditional schools of wayang (sanggar)
• Seminars and other meetings
• Development of human resources involved in wayang, namely artists, expert and lovers of wayang
• Development of critique of wayang
• Maintenance of good connections with international organizations, foundations, and experts.
ACTIVITIES Over the Past 5 years (Summary)
• Has Increased the capacity of the organization and its committee members in carrying out their duties, supported by a full time office staff.
• Has carried out ongoing close and effective collaboration with government bodies and ministries (eg. Ministry of Culture and Tourism, Ministry of Foreign Affairs, etc.) as well as private organizations and private individuals both within Indonesia as well as overseas, for instance by organizing Friends of Wayang to support wayang safeguarding activities
• Has supported the declaration of an organization dedicated to safeguarding of wayang orang, called PEWANGI (Union of Wayang Orang and Traditional Theatre), on 31st October 2010.
Research and Development
• Research done regarding critiques of wayang, the noble values contained in wayang, and development of wayang along with the challenges of the age
• Development of classic wayang as well as new innovations
• Conservation and development of rare styles of wayang eg. Wayang Palembang, Wayang Banjar, Wayang Beber, etc. saving these styles of wayang from possible extinction.
• Prepared materials and documents for the declaration of Philosophy of Wayang as a science at Gajah Mada University, Yogyakarta, on 30th March 2011.
• Has collaborated with universities such as ISI Surakarta, Gajah Mada University, regarding research on wayang.
Documentation and Information about Wayang
• Research and Documentation done regarding all existing types of wayang found in Indonesia (estimated to be more than 60 types or styles)
• Development of PDWI (Indonesian Wayang Database Centre). PDWI is a multimedia database containing information regarding all aspects of wayang. This electronic data center is accessible both nationally and internationally. (http://www.pdwi.org ) PDWI is located in SENA WANGI office, and contains and extensive library and audiovisual archive on all aspects of wayang. Students and researchers often take advantage of the database which is open to the public daily through 10 computer terminals provided.
Has published a number of books regarding wayang, including philosopy of wayang, printed and audio-visual teaching materials on various styles of wayang, Encyclopedia of Wayang, manuscripts of books on wayang, a wayang journal, upgrading and publication of the wayang magazine “ Cempala” and others.
Appreciation of Wayang
• Has motivated wayang organizations especially PEPADI ( Indonesia Puppeteers Union) traditional schools of wayang (sanggar), as well as private and governmental bodies related to the field of wayang art to organize performances of wayang
• Has organized periodic festival of wayang. Indonesian Wayang Week, which has been held once every 5 years since the founding of SENA WANGI. Various wayang festivals and performances are held annually or biennially.
• Has organized performances of wayang especially produced for broadcast media ( a TV program including wayang performance, called “Cempala”, and other programmes, film, video, etc).
In 2005-2007, SENA WANGI collaborated with UNESCO for the execution of an Action Plan for Safeguarding Indonesian Wayang. The programme consisted of creation of written and audio-visual teaching materials of 15 styles of Indonesian wayang, and guidance and assistance to 15 sanggar (traditional schools of wayang) as a pilot project for safeguarding wayang by transmission especially to younger generation. This programme notably succeeded in safeguarding and developing two styles of wayang which were at that time severely endangered and on the verge of extinction; namely, Wayang Palembang (South Sumatra Province) and Wayang Banjar (South Kalimantan Province).
In 2006, SENA WANGI pioneered and motivated the formation of the ASEAN Puppetry Association as one form of ASEAN collaboration in the social and cultural field. ASEAN Puppetr Association was declared by representatives of puppetry communities from all 10 ASEAN nations present at the First ASEAN Puppetry Festival 2006 in Jakarta, organized by SENA WANGI in Jakarta.
• In 2009, SENA WANGI pioneered the establishment of the Indonesian National Centre for UNIMA (Union Internationale de la Marionette ), and has continued to collaborate closely with UNIMA since that time.
• SENA WANGI has participated in various festivals, meetings and other international events related to wayang/puppetry eg. Hanoi, Vietnam, Phillipines, Malaysia, Hungary, India. etc.
• SENA WANGI has established and maintained collaboration and communication with puppetry artists and experts in the field of puppetry in many countries.
Indonesia has at least 60 styles of wayang, each having its own community. The number of wayang dalangs (puppeteers) is at least 5000, supported by musicians and singers. There are 350 sanggar or informal schools of wayang, spread all over Indonesia, as well as wayang organizations. The largest among them is SENA WANGI’s sister organization, the Indonesian Dalang’s Union or PEPADI. Since its founding, SENA WANGI has coordinated and interacted with these wayang organizations, as well as schools and communities with the purpose of developing communication, mutual respect and collaboration among all these elements and communities.
SENA WANGI has been active in developing wayang through the field of formal education by creating curicula and helping to create infrastructure. Wayang is now accepted as a field of study at 1st degree, masters and doctoral level at Gajah Mada Univesity in Yogyakarta. Curricula for wayang studies were developed by SENA WANGI.
SENA WANGI organized a support group called “Friends of Wayang” to raise ongoing support from the corporate sector (social responsibility) and other charitable groups and individuals, in order to fund activities for safeguarding of wayang cultural heritage.
SENA WANGI regularly organizes seminars, workshops and discussions, bringing together wayang experts, artists, wayang enthusiasts as well as government officials, to discuss wayang as well as how to safeguard wayang and transmit wayang cultural heritage to future generations.
SENA WANGI inspired and executed the creation of a puppetry organization on the sub regional level: ASEAN Puppetry Association (APA), held the first ASEAN Puppetry Festival in 2006, and has supported and participated in subsequent APA meetings and festivals. The purpose of APA is to promote mutual respect, safeguarding and exchange of information and cooperation in the field of puppetry on the subregional level (ASEAN), on the basis of “friendship through culture”
SENA WANGI organized an Asian Wayang Meeting in collaboration with China and India (Yogyakarta, 15-16 December 2008), to promote regional cooperation in wayang safeguarding
SENA WANGI has interacted with and supported traditional craftspersons who make wayang puppets and instruments of the gamelan orchestras which accompany wayang.