In the simmering heart of Java, following our sojourn at the Ullen Sentalu museum, we journeyed towards Jogjakarta. Our destination: the curious Babaran Segaragunung Culture House (BSG), a haven for the exploration of creative processes nestled within traditional cultures. Here, the fine art studio of Brahma Tirta Sari (BTS) thrived, its lifeblood sustained by the Baragung enterprise. Agus Ismoyo and Nia Fliam, the creative minds behind BTS, had ventured far and wide, collaborating with indigenous artists from the likes of Ernabella Arts and Utopia in Australia. BSG itself, a cultural lodestar in Yogyakarta, served as a crucible for contemporary artistic expression, its foundation firmly rooted in the wisdom of local traditions.
The batik on display, vibrant testaments to these collaborations, proved an education in themselves. Later, as we sat down to a communal meal of Nasi Tumpeng, I confessed to Dimas my usual, rather Western, approach – a slice taken from the peak, akin to a birthday cake. He chuckled, gently informing me of my faux pas.
Indeed, the seemingly simple act of consuming Nasi Tumpeng revealed layers of cultural understanding. The Western method, a recent invention, found favor in situations where cultures mingled, a concession for those unfamiliar with the traditional way. This, the time-honored approach, involved a reverence that began from the bottom and worked its way up – a way of acknowledging those who came before, a symbolic striving for prosperity, and a communal act of sharing from the same vessel. Cultural sensitivity, Dimas emphasized, was paramount. Tradition or inclusivity, the choice depended on the context.
Dimas then surprised us with postcards, one postcard featuring the "Surya Majapahit," the emblematic sun symbol of the Majapahit empire. This powerful image pulsed with meaning. The stylized sun disc, its rays reaching outwards, sometimes adorned with Hindu deities, whispered tales of the empire's divine power and far-reaching influence. The legacy of Majapahit, a glorious past etched in carvings and sculptures, resonated in this enduring symbol. Even today, the Surya Majapahit continued its journey, a fragment of history adorning artwork and serving as a potent reminder of Indonesia's rich heritage. Interestingly, Dimas added, the symbol's continued use by a few Islamic organizations – is a testament to the intricate tapestry woven by religion, culture, and memory in Southeast Asia.
Our pilgrimage through BSG complete, we arrived in the heart of Jogja. Emerging from the van, we witnessed a captivating spectacle – figures adorned in traditional Javanese attire, their black tops contrasting with batik skirts flecked with gold and red. With a courteous request and a smile, I captured a photograph of this family, a fleeting glimpse into local life. Here, our paths diverged. Susan, Eng Thai, Clara, Yit Peng, and I, yearning for further exploration, embarked on a day trip to Borobudur and Prambanan, bidding farewell to the others.
While awaiting our new guide and driver, Mas Eko, we found solace in the cozy confines of Kopi Pakpos cafe. Here, amidst swirling aromas and steaming cups, we said our goodbyes to Tony and Dimas, expressing our gratitude for their informative, entertaining, and culinarily delightful journey.
Following Mas Eko's recommendation, we surrendered to a symphony of flavors at "Taste of Java" in Villa Borobudur. The panorama of twinkling lights blanketing the town below added a touch of magic to this delectable Javanese feast. A fitting recommendation from our local driver-guide.
A mere fifteen minutes later, we arrived at our haven for the night – Bhumi Karsuyan. Our initial apprehensions of a basic hotel were quickly dispelled. This, we discovered with delight, was a place of unexpected excellence.
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