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Classical Indonesia, Jakarta (2026)

26/03/2026

Lebaran is the Indonesian term for Eid al-Fitr, the major Islamic holiday marking the end of the fasting month of Ramadan. It symbolizes victory over temptations, spiritual renewal, and forgiveness. It is a time for family reunions (mudik), special food like ketupat, and wearing new clothes.

As with "Raya" in Sumatra, "Bakda Riyadi" in central Java, "Lebaran" known for Eid celebration in Jakarta has been around as long as the city was still under the Dutch rule. In local customs surrounding Jakarta/Batavia, Lebaran is perceived as "finished" (fasting), "open" (heart), "abundant" (overflowing/sustenance), or "melting" (sins). The term may have its origin in Old Javanese word "lěbar" (same spelling), meaning to leave, like Lebaran which marks the end of Ramadhan. In Indonesia, certain traditions during Lebaran still have links to pre-islamic traditions such as visiting the graves of the late relatives.

In Javanese text Bakda Riyadi Satunggaling Adat Kina by K.R.A. Djaja Kramadjaja Adhi Negara, former Adipati of Majakerta, he mentions that "karameyan," a celebration that begins on the 21st of the month of Siyam and ends on the 1st of Sawal, known as "Lebaran Kupat", imitating the "karameyan" of the Majapahit era. He also mentions the tradition of people visiting tombs during the Bakda Riyadi, which the Javanese call Nyadran :
"Dumuginipun Bakda Riyadi tanggal 1 Sawal ingkang laminipun 11 dintên ngantos tanggal 8 Sawal ingkang ugi dipun wastani Lêbaran Kupat punika kintên-kintên mula bukanipun nêlad saking karameyan ing jaman Majapahit wau. Amila sujarah dhatêng pasareyan ing dintên Bakda Riyadi punika tiyang Jawi amastani: Nyadran."

The term "Nyadran" most likely comes from the word "Sraddha". In Nagarakrtagama, Sraddha is a ceremony and festive celebration held to commemorate the death of a figure during the Majapahit era. While Sraddha was held to commemorate the 12th anniversary of the death of a prominent figure, Lebaran Ketupat is also held after 11 days. Both are celebrated in almost the same way, with crowds (karameyan).

24/03/2026

Opor is an Indonesian chicken stew based on an aromatic combination of coconut milk and numerous spices such as lemongrass, tamarind, cinnamon, galangal, palm sugar, coriander, garlic, amnd shallots. The dish is typically prepared with bone-in pieces such as thighs or drumsticks, or sometimes even a whole chicken that is cut into pieces.

The dish is usually associated with Java and it belongs to a wider group of opor dishes that employ the coconut milk braising technique (TasteAtlaa). Opor ayam is typically enjoyed at Eid al-Fitrat – a religious festival that celebrates the end of Ramadan.It is usually accompanied by rice, boiled eggs, or ketupat rice cakes.

The etimology of the word "opor" can be traced in Javanese to indicate roasting meat on a spit/skewer (Gericke & Rooda, 1847;1901). Interestingly, if we look at what is in the Serat Centhini & various edition of Indisch Kookboek published in the first half of the 19th century, the typical opor that seems to get the most recognition is opor bebek.

Reference :

Yayasan Centhini Yogyakarta. 1988. SÊRAT CÊNTHINI JILID VI: Kalatinakên Miturut Aslinipun dening KAMAJAYA.1988. Yogyakarta : PD.Hidayat.

23/03/2026

Serundeng is an Indonesian condiment made from sautéed grated coconut, commonly found in Javanese & Sundanese cuisine, and used to enhance the flavor and texture of a variety of savory dishes. Originating from Java, where coconut-based ingredients play a central role in the culinary landscape, serundeng is both a flavorful garnish and a versatile side dish (TasteAtlas).

It is typically made by slow-toasting fresh grated coconut in a pan along with a rich blend of spices such as garlic, shallots, galangal, coriander, turmeric, and makrut lime leaves, often with a touch of palm sugar for balance. The result is a fragrant, golden-brown mixture that is dry, slightly crisp, and deeply aromatic.

Serundeng is usually served with rice and meat dishes, fried chicken, or grilled meats, where it adds a warm, nutty flavor and a satisfying contrast in texture.

Reference :

Yayasan Centhini Yogyakarta. 1988. SÊRAT CÊNTHINI JILID VI: Kalatinakên Miturut Aslinipun dening KAMAJAYA.1988. Yogyakarta : PD.Hidayat.

22/12/2025

Happy National Mother's Day to all Indonesians celebrating !

03/12/2025

Archaeological forgery or the creation of false artifacts refers to a modern or manufactured object that is passed off as an authentic historical or pre-historical artifact used to deceive for various reasons like financial gain, prestige, amusement, pious fraud (religious history), or political agenda.

28/11/2025

Terasi is a typical Indonesian cooking spice/seasoning made from fermented fish or rebon shrimp, resulting in a dark brown to black solid paste with a sharp savory aroma and taste. This spice is widely used in various dishes, especially sambal, fried rice, and soups, and is a culinary icon of the Indonesian archipelago. Unlike shrimp paste, petis is cooked without fermentation. It's made by boiling shrimp or fish and extracting the juice or broth. The broth is seasoned with a little salt and granulated or brown sugar, resulting in a savory yet sweet flavor. The mixture is then cooked until it thickens into a paste with a slightly oily texture and a blackish color. Petis with a lot of shrimp juice also tends to have a more fishy aroma. Besides being used as a cooking ingredient, petis can also be used as a dip for fried foods like tofu.

The earliest textual evidence about shrimp paste in Java can be traced to the Karangbogem inscription, dated 1387 AD. According to historian Denys Lombard (1996:91), the word "acan/hacan" in Karang Bogem inscription is belived to have connected with the later word "blacan," which also means "terasi".

The content of Karang Bogem inscription relates to the establishment of a "lungguh"/apanage on land belonging to Patih Tamba in a place called Karang Bogem, or "square-shaped reef," by the sea (Ibid). The land reportedly included a rice field and half a cleared land, as well as ponds whose fish were used to make shrimp paste. A fisherman from Gresik (saking Gresik warigaluh) who has debt of 1 keti & 2 laksa (ahutang sakěti rong laksa) was required to settle there with several other fishermen and produce shrimp paste, part of which was to be handed over to the palace and the rest to each of their employers (Ibid).

On the island of Java, the history of shrimp paste is often associated with the city of Cirebon. The term Cirebon is derived from the Sundanese word "ci-," meaning water, short for "cai"; and "rebon," a type of small shrimp used as an ingredient in terasi (shrimp paste). This is related to the fact that Cirebon, from ancient times to the present day, has been a producer of abundant, high-quality shrimp and shrimp paste for export. According to Atja, An local tradition also suggests toponym "grage" is belived to have come from glagi, the name for dried shrimp used as an ingredient in shrimp paste (Atja, 1986:28).

In the Purwaka Caruban Nagari manuscript, Cirebon is mentioned as paying tribute to Pakuan Pajajaran in the form of shrimp paste. It is also said that Ki Danusela, whose title is Ki Gedeng Alang-alang, Ki Danuwarsi's younger brother, and his wife, Nyai Arumsari, work together on thei daily basis to catch fish and shrimp, making shrimp paste, petis and salt (Atja, 1986:89).

References:

Atja. 1986. Carita purwaka Caruban nagari: karya sastra sebagai sumber pengetahuan sejarah. Proyek Pengembangan Permuseuman Jawa Barat.

Callenfels, P. V. van Stein. 1918. Oudheidkundige Dienst In Nederlandsh Indie Oudheidkundig Verslag 1918. [Weltevreden]:Albrecht & Co.

Lombard, Denys. 1996. Nusa Jawa: Silang Budaya
Bagian 3: Warisan Kerajaan-Kerajaan Konsentris. Gramedia Pustaka Utama.

Pigeaud, Theodore G. Th. 1960. Java in the 14th Century: A Study in Cultural History, the Negara Krtagama by Rakawi Prapanca of Majapahit, 1356 AD Vol III. Leyden: The Hague Martinus Nijhoff.

22/11/2025

Ronggeng is a traditional Javanese dance featuring a female dancer as the center of attention. The dance can also refer to the dancer herself, who typically wears a shawl while dancing and is accompanied by musical instruments.

Ronggeng performance or tayub is a living tradition among Javanese, and it was considered as folk dancing grown and developed in villages . Tayub means dancing which has the same meaning as ronggeng. According to Ensiklopedia Tari Indonesia Seri P-T, the name tayub was attributed to part of the dancing when performed with a partner (Yulianeta, 2013:41).

Ronggeng or Tayub performance is an old tradition in Javanese culture. The term Ronggeng or Tayub was mentioned in Old Javanese-English Dictionary written by P.J. Zoetmulder and S. O. Robson (Yulianeta, 2013:40). Excerpt from Kakawin Ghatotkacasraya (12th Century) as below “ ... tan hunine watek bini hajin panayub anapuk arja sasmita; Excerpt from Kidung Wandbang Wideya ”aluwaran sri bupati, kuneng rahaden S. Malih anayub”; Excerpt from Arjuna Pralada: “... sang angigel awusan mantuk ndan sang aulun malih anayub prasama linggih mangko” ( Zoetmoleder & S. O Robson, R.M. Soedarsono 1999, Narawati 2003 in Ibid). Those excerpts mentioned the word anayub or nayub which is close to the term Tayub. This means that the term Tayub was known during the twelfth century as shown in Kakawin Gathotkacasraya and Kakawin Bharata Yudha (ibid). In addition, the word tayub is also found in Kakawin Bharatayuddha composed in the 12th century.

Whereas the term "ronggeng" that denotes a female dancer in Old/Middle Javanese can be found in the 16th-century Kidung Sunda manuscript. "Ronggeng" refers to the dancing girls that perform alongside other plays during the mourning period following the death of King Hayam Wuruk (Berg, 1927).

Moreover, Thomas Stamford Raffles in The History of Java (1817) describes ronggeng dance during the 19th-century as being most highly valued in western part of Java:
"The commons dancing girls of the country ... are called ronggeng, are generally of easy virtue. They make professions of their art, and hire themselves to perform on particular occasions, for the amusement of the chief and the public. Though to be found in every principal town, their performenance is most highly esteemed in the western, and particularly among the mountaineers of the Sunda districts, where the superior graces of the bedaya are unknown ... Their conduct is generally so incorrect, as to render the title of ronggeng and pr******te synonymous..." (Yulianeta, 2013:42).

Reference:

Berg, CC. 1927. Kidung Sunda. Inleiding, tekst, vertaling en aanteekeningen. BKI 83: 1 – 161.

Yulianeta, (2013). "Ronggeng: Cultural Artifacts and Its Representation in Indonesian's Fiction", in Leksika no. 7 Vol. 2, August 2013: 40-49

Zoetmulder, P.J. 1982. Old Javanese-English dictionary. Gravenhage: Martinus Nijhoff.

Rijksmuseum collectie

Wereldmuseum collectie

13/11/2025

Durian (Durio zibethinus) is a dicotyledonous tropical seasonal plant species belonging to the members of family Bombacaceae and genus of Durio. The island of Kalimantan/Borneo is generally accepted as the original geographic origin and the center of diversity of the genus Durio. Referring to kemenkesgoid & indonesiagoid, there are 28 durian species spread throught Indonesia, 19 of which are endemic to Kalimantan. However, only nine are edible, including the lahung (Durio dulcis) and lai (Durio kutejensis) durians. Several local varieties, such as Bawor (Central Java) and Sitokong (Papua), are regional pride. According to Research Centre of the National Research and Innovation Agency (BRIN), Indonesia has 21 of the 27 durian species known in the world, and until 2024 approximately 114 varieties are registered for new superior varieties (bringoid).

Durian has an important economic value in several provinces and is one of the main commodities. Durian fruit production ranks sixth after banana, mango, orange, rambutan, and salak. The regions with the highest durian production are East Java, West Sumatra, Central Java, North Sumatra, and West Java (ibid). Durian for the longest time has been regarded as the national fruit of Indonesia.
Its current capital city, Jakarta, also has been named The Big Durian by foreigners, as in reference to Big Apple being New York city.

Referring to an article about Durian by Historia,, Masatoshi Iguchi's book, Java Essay: The History and Culture of Southern Country, recounts a VOC expedition from Batavia to Bogor in 1687. The expedition, led by Pieter Scipio van Ostende, was known to have seen numerous durian trees growing around Bogor (Bonnie Triyana in Historia).

It was Georg Eberhard Rumphius, a German-born botanist working for the Dutch East India Company (VOC), who first described the durian in detail in his research report (Historia). The report was later published as a book in 1741 under the title Herbarium Amboinense. During his research in Ambon, Maluku, Rumphius witnessed locals using the scent of durian to catch civets. This was the first time he saw the durian and recorded the genus name "durio" in his report. From then on, the name durian entered the botanical repertoire and attracted the attention of other European botanists (Ibid).

Then, 33 years after the publication of Rumphius's Herbarium Amboinense, the Swedish botanist Carl Linnaeus published his book Systema Vegetabilium, which included the name durian with the Latin name Durio zibethinus. He added the name "zibethinus" after the genus name "durio" to commemorate Rumphius' discovery in Ambon. "Zibethinus" is derived from the Latin word for civet, "zibetto." Rumphius's story about the Ambonese people using the scent of durian to trap civets inspired Linnaeus to perpetuate it with the Latin name durian (Ibid).

British naturalist Alfred Russel Wallace, who conducted research in the Indonesian archipelago, including in Ternate, from 1848 to 1854, also became enamored with durian. The naturalist, credited with laying the foundation for Charles Darwin's theory of evolution, once wrote a letter to his fellow botanist, Sir William Jackson Ho**er, expressing his admiration for the durian (Ibid).

Reference:

Santoso, S. 1980. Indonesian Rāmāyana (Vol. I). New Delhi: Sarada Rani.

Mahanani, Nugrahadi. 2013. Vegetasi Lingkungan Situs Ratu Boko: Analisis Pollen Sedimen. Undergraduate Thesis. Universitas Gadjah Mada.

Zoetmulder, P.J. 1982. Old Javanese-English dictionary. Gravenhage: Martinus Nijhoff.
Image Courtesy :

Kern Institute

kemdikbud.go.id

29/10/2025

Indonesian islands mentioned in epigraphic sources

1. Sumatra : Suwarnnadvipa, Suwarnabhumi, Malayu/Melayu
2. Java : Yava, Nusa Jawa, Yawadwipa
3. Madura : Nagara Madhura, Nusa Madhura
4. Kalimantan : Tañjungpura. As per the mid-15th Century, Tañjungpura is still considered one of the vassals subjugated to Majapahit during the reign of Dyah Krtawijaya as implied in Waringin Pitu inscription (1447 CE) with a chief named Dyah Suragharini (Boechari in Prasasti Koleksi Museum Nasional Jilid I (1985/6:128)).
5. Bali : Validvipa, Baliwipanagara, etc.
7. Lombok : Gurun/Gurung if according Roelof Goris in Prasasti Bali I (1954:357). The term Sasak is also found in Pudjungan inscription (14th-15th century) from Bali (Goris, 1954:28). In Nagarakrtagama, besides Gurun, Lombok Mirah & Saksak are associated with Lombok Island.

*Credit goes to the artists whose ideas & creations have been used as references to generate the assets used in this content.

23/10/2025

Tumpeng is a mountain-shaped rice dish presented along with side dishes and served in a wickerwork plate made from bamboo which is called tampah (Jati, 2014:325). The word 'tumpeng' is said to be the abbreviation of tumungkula sing mempeng (Ibid). 'Tumungkula' is Javanese word for bowing and 'mempeng' means diligent. Therefore, the meaning of Tumpeng is a person should diligently pray to God to have a safe life (Mulder in Jati (2014:328)).

In general, there are two types of Tumpeng: Tumpeng Kuning (yellow Tumpeng) and Tumpeng Putih (white Tumpeng). According to a manuscript written in 1814 called Serat Centhini (Amangkunegara in Jati (2014)), there are several different kinds of Tumpeng that are common in Javanese traditional ceremonies, some of which are Tumpeng Kuning, Tumpeng Putih, Tumpeng Robyong, Tumpeng Gundhul, Tumpeng Kencana, Tumpeng Ropoh, Tumpeng Bango Tulak, Tumpeng Panggang, Tumpeng Dhuplak, Tumpeng Kendhit, Tumpeng Megono, Tumpeng Urubing Damar and Tumpeng Pangkur.

The number of Tumpeng side dishes are usually seven (pitu) from the word pitulungan, which means help (Jati op.cit., p. 325). Some literature also suggests that it is not necessary to be exactly seven, but it should be an odd number (Ibid). There is no standard on the kinds of the side dishes that can accompany Tumpeng. However, it should represent three element; (1) animals that live on land, for example, chicken, egg and beef; (2) animals that live in water, for example, milkfish, catfish and anchovies; and (3) vegetables such as swamp cabbage, carrot, cabbage, string beans and spinach (Ibid).

Although Tumpeng indeed originated in Java, its presence remained affected by ancient Hindu-Buddhist culture, especially concerning Mount Semeru. Tumpeng such as mountain shaped rice, colours and ingredients are known to be a reflection of the Hindu religion (Jati op. cit., p. 326). A mountain in Hinduism is believed to be a holy, sacred place as a portal between earth and the heavens. Moreover, a mountain is the symbol of the beginning of life due to the water which is flowing from the mountain to the stream and can fulfil the needs of all living beings. Even so, in Javanese ancient religion kejawen, a mountain is also a sacred place. God is believed to reside at the top of the mountain and rule the world. Therefore, the cone shape of Tumpeng means to give God a high place above all other things (Ibid).

The phrasal noun "sĕkul paripurnna" found in several Old Javanese inscriptions from Ancient Mataram era refers to a set of rice with side dishes (Wurjantoro, 2018). Both 'sěkul' and 'nasi' are Old Javanese vocabularies, meaning rice (Zoetmulder, 1995). In Gulung-gulung inscription issued by King Pu Sindok in the 10th C, sĕkul paripurnna is one of the dishes described during the feasting between the guests attending sima ceremony. Nearly contemporary to it or decades earlier is Old Javanese Kakawin Ramayana composed during the reign of Dyah Balitung of Watukura containing the word 'tumpĕng' to be exact. It is described as a metaphor in the literay text. The term was then still recorded in Eastern Javanese texts such as Arjunawijaya.

Referring to an article in the Jakarta Post, a lecturer of anthropology at Malang’s Brawijaya University, Ary Budianto, said that, based on Kakawin Bomakawya (old Javanese poetry) of the 12th – 13th century, the tumpeng was a Javanese tradition of laying down food to create a large heap. Moreover, he added that at the time, kingdoms received tributes from their people, and tumpengan was an occasion to allow people to dine together with royal circles (theJakartaPost.com).

The main highlight here is tumpeng found in inscription of Sidotopo or Trailokyapuri/Jiyu 4 from the late Majapahit period containing the reissuance of the sima bestowal that had been given by sira san mokta rin amretabhasalaya, bhatara prabhu san mokta rin amretawisesalaya and san mokteri mahalayabhawana to Sri Brahmaraja Gangadara by Girindrawarddhana Dyah Ranawijaya (Ginanjar, 2000). The witnesses from the nearby villages were granted with gifts including 30 cones (tumpĕng) of rice.

The era of Islam entering Java also affected the tumpeng, as reflected in the grebeg religious procession introduced by Sultan Agung in the 17th century, which involved the tumpeng (theJakartaPost.com).

Today, Tumpeng is an integral part of the Javanese traditional ceremony slametan. Slametan can be defined as a ritual to ask for safety in all aspects of life from God, and it has been the main ceremony of the Javanese religion (Newberry in Jati (214:327)). Among Javanese people, slametan is the form of relation of one person to the other within the community, the interaction of a person with the environment and also the external power which determines the human life (Beatty in Jati (2014:227)). Javanese people believe that their lives have been set by the external power and their presence in this world is purely to walk through the path that has already been decided by that external power. Slametan expresses the notion of thanksgiving, blessing and grace. It is held to celebrate rites of passage and promote a sense of community. Slametan has been done in all stages of human life starting even before the birth of a human being. For example, mitoni (seven months) is a ceremony on the seventh month of pregnancy, the birth, selapanan (35 days after birth), birthday, marriage and funeral (Koentjaraningrat in Jati (2014:328)). Moreover, in the daily lives of Javanese, slametan also plays an important part, such as building a house, starting of the farming calendar, the harvest period and other occasions. In these ceremonies, Tumpeng is the main food served, even though the kinds of Tumpeng are different according to the type of ceremonies (Jati op. cit., p. 328).

Tumpeng with all its philosophy is a manifestation of Javanese agrarian society, each of the components tells us something about the process of human life (Ary Budianto in theJakartaPost.com).

References :

Brandes, J.L.A. (1913). “Oud-Javaansche Oorkonden”, in VBG LX, deel 2.

Damais, L.C. (1955). “Études d’Épigraphie Indonésienne, IV: Discussion de la Date des Inscription”, in BEFEO XLVII (1).

Ginanjar, Dody. 2000. Prasasti dari Sidotopo Saka 1408 (1486 Masehi) (suatu kajian awal). Skripsi. Depok : Universitas Indonesia.

Jati, Ignasius Radix A.P. (2014). "Local wisdom behind Tumpeng as an icon of Indonesian
traditional cuisine", in Nutrition & Food Science 44(4).

Santoso, S. 1980. Indonesian Rāmāyana (Vol. 3). New Delhi: Sarada Rani.

Trigangga. 2003. Tiga Prasasti Batu Jaman Raja Sindok. Jakarta: Museum Nasional.

Wurjantoro, Edhie. 2018. Anugerah Sri Maharaja: Kumpulan Alihaksara dan Alihbahasa Prasasti-Prasasti Jawa Kuna dari Abad VIII-XI. Editor: Ninie Susanti. Depok: Departemen Arkeologi FIB UI.

Yamin, Muhammad. 1962. Tatanegara Majapahit, Parwa 1 - 2. Jakarta: Yayasan Prapantja.

Zoetmulder, P.J. & S.O. Robson. 1995. Kamus jawa kuno - Indonesia. Penerjemah Darusprapto, Sumantri Surayitno. Jakarta : Gramedia Pustaka Utama.

"The philosophical significance of Indonesia's ‘tumpeng’ ". Nedi Putra AW (The Jakarta Post) Malang, East Java Mon, March 30, 2020.

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