Padusan places in mojokrto

padusan-tourism location, a distance of 32 kilometers from the town of Mojokerto, can be taken from Surabaya and the Mojokerto, without the need to Mojokerto, but when they arrive at Krian (Sidoarjo), immediately turned in the direction Mojosari, Mojokerto. It seemed, distance 30-40 miles it will not feel tired, especially when direct visitors plunged into hot water or warm water in there.

Baths Padusan included in the ecotourism area locations Pacet, Mojokerto regency, East Java, located on the slopes of Mt Welirang. Therefore, the air on the banks of the River Dawuhan managed Youth and Sports Office of Tourism (the diaspora) Mojokerto regency that, it looks fresh and very natural. Pine tops swaying as if scrambling to welcome tourists.

In Padusan there are two facilities hot water bathing pool, a pool of warm water bath, and two cold water bathing pool (one pool for adults and one pool for children that shallow). Not too expensive entry tickets Rp5.000 ie, 00 per persons.

After swimming in cold water and soak in hot or warm water, visitors who came out of the bathhouse will be able to ride horses into the area Tahura (Forest Park) R Soeryo which is the location of the camp (campink ground). Rates rose only 10,000 horses, 00 per one or two children.

Not only that, in front of the bathhouse Padusan there is also often used to eat the forest-yack, simply roasted corn, or enjoy a typical Ireng lupis sticky Rp3.000 hargnya Mojokerto, 00 per bowl.

When everything is finished, visitors can end the tour with over fresh fruit or vegetable markets in the region that could save the murky story of December 11th, 2002, but the location Padusan ecotourism has now moved away from the river flow Dawuhan to reduce the potential for disaster.

Onde-Onde traditional food

Onde-Onde is a kind of snack cakes a popular market in Indonesia. This cake is very popular in the area known as the city of Mojokerto Onde-Onde from Majapahit era. Onde-Onde can be found in traditional markets or sold on street vendors. Onde-Onde are also popular, especially in Chinatown in both Indonesia and abroad.

Onde-Onde made of glutinous rice flour or flour-fried or boiled and the surface is paved / dibalur with sesame seeds. There are a variety of variations, the best known are Onde-Onde made of glutinous rice flour and green bean paste filled therein. Another variation is only made from wheat flour and colored on the surface like a white, red, or green Onde-Onde known as wheat, which is the typical Onde-Onde from the town of Mojokerto

ngoro mojokerto industries

Ngoro is a district in Mojokerto regency, East Java, Indonesia.
This district is one of the local industrial area of Mojokerto. When this has been established industrial area called Ngoro Industrial Park (NIP) which was in the area between Mojosari and Watukosek. In addition to existing industrial estates in Ngoro sand mining (sand) located south disebalah settlements in the foothills of responsibility. Ngoro community and its surrounding areas before entering the industry, Ngoro livelihoods is farming. Ngoro subdistrict consists of 19 villages, among others: Nyctanthes arbor-tristis, Kesemen, Kutogirang, Purwojati, Sedati, Lolawang, Wotanmas Jedong, Ngoro, Kembangsri, Jasem, Sukoanyar, Tanjangrono, Bandarasri, Tambakrejo, Wonosari, Watesnegoro, Manduro Play Elephant, Kunjorowesi.

dakon is traditional game

dakon is a traditional game which is known by various names throughout Indonesia. Usually in the game, a type of clam shells are used as seed Congkak and if not there, sometimes it is also used seeds from the plants.

Games dakon done by two people. In their game board using a board called dakon and 98 (14 x 7), fruit seeds, called beans or fruit dakon dakon. Generally dakon boards made of wood and plastic, while the seed is made from shellfish shells, seeds, stones, marbles, or plastic. On board there were 16 fruit dakon aperture consisting of 14 small holes which face each other and the two big holes on both sides. Each of seven small holes in the side of players and big holes in the side kananya regarded as belonging to the player.
At the beginning of the game every little hole filled with seven seeds. Two players are facing one another, the one who started to pick holes to be captured and put one into the hole on his right and so on. When the seeds out in a small pit that contains the seeds of others, he can take those seeds and proceed to fill, can be discharged in a large aperture of hers so she can continue by selecting a small aperture in the side. when discharged at a small hole in the side so he quit and took all the seeds on the opposite side. But when stopped at an empty hole at the opposite side so he stopped and did not get anything.
The game is considered finished when it no longer can dimabil seeds (all seeds are placed in a large pit two players). The winner is to get the highest seed.

Dhalang (puppeteer) traditional work

The dalang (Javanese: dhalang) is the puppeteer in an Indonesian wayang performance.

In a performance of wayang kulit, the dalang sits behind a screen (kelir) made of white cotton stretched on a wooden frame. Above his head, hanging from beams attached to the top of the screen, is the lamp (blencong), which projects the shadows onto the screen. In front of the dalang is a stage (debog), traditionally made from the trunk of a banana tree, into which the sharpened control rods of the puppets can be pushed to keep them in position during the performance. To his left is the puppet chest (kotak), and to his right is the puppet chest's lid, on which the puppets sit ready for use.

In addition to moving the puppets and speaking their lines, the dalang is also responsible for giving cues to the gamelan. This is done principally by playing the kepyak, a metal plate or set of plates played with his foot, or by rapping on the puppet chest (kotak) with a wooden mallet held in the left hand.

The art of puppetry (pedhalangan) was traditionally handed down within families, and dalangs formed a type of informal caste within Javanese society. The women of these families traditionally were expert players of the gendér, an instrument which has a particularly important role in accompanying wayang performances. The sons of dalangs were often apprenticed out around the age of 13 to another dalang. His role included helping to set up the screen ahead of a performance, performing the afternoon show before a main all-night wayang, and sometimes acting as an accompanying musician or as an assistant puppeteer. He would also frequently end up marrying his master's daughter, who would have been trained as a gendér player by her mother. The social aspects of the dalang caste are covered by Victoria Clara van Groenendael's book "The dalang behind the wayang" (Dordrecht, 1985)

Much of the traditional training of dalangs was in the form of a practical apprenticeship, with a certain amount of spiritual training thrown in. This included meditation and a form of ascetic exercise known as kungkum, in which meditation is carried out naked at night while immersed up to the neck in water. Such practices are felt to be essential in building up the stamina to perform for nine hours at a stretch. A further ascetic element is that dalangs never eat during the performance, although almost all drink sweet tea and many also smoke heavily.

In recent times, however, schools teaching pedhalangan have been founded, such as the Habirandha school within the Kraton Yogyakarta, which teach a standardized version of pedhalangan. The Habirandha school published its own textbook, the Pedhalangan Ngayogyakarta, in 1976. Standardized pedhalangan is also taught at Indonesian state institutions such as the Indonesian Institute of the Arts, Yogyakarta.

Pedhalangan falls into three main areas - musical, vocal and puppetry. The musical aspects include the direction and cueing of the gamelan and the singing of mood-setting songs (sulukan), the vocal includes the recitation of set texts at scene-openings (kandha) and the extemporisation of dialogue showing mastery of Javanese linguistic etiquette, while the puppetry itself (sabetan) involves a complex system of movements and positions. There is an extensive study of sabetan in English by Roger Long (see further Reading)