Javanese Alphabet

The earliest known writing in Javanese dates from the 4th Century AD, at which time Javanese was written with the Pallava alphabet. By the 10th Century, the Kawi alphabet, which developed from Pallava, had a distinct Javanese form.
By the 17th Century, the Javanese alphabet, also known as tjarakan or carakan, had developed into its current form. During the Japanese occupation of Indonesia between 1942 and 1945, the alphabet was prohibited.
For a period from the 15th Century onwards, Javanese was also written with a version of the Arabic alphabet, called pégon or gundil.
Since the Dutch introduced the Latin alphabet to Indonesia in the 19th Century, the Javanese alphabet has gradually been supplanted. Today it is used almost exclusively by scholars and for decoration. Those who can read and write it are held in high esteem.

Notable features

• Javanese is a syllabic alphabet - each letter has an inherent vowel /a/. Other vowels can be indicated using a variety of diacritics which appear above, below, in front of or after the main letter.
• Each consonants has two forms: the aksara form is used at the beginning of a syllable, while the pasangan form, which usually appears below the aksara form, is used for the second consonant of a consonant cluster and mutes the vowel of the aksara.
• There are a number of special letters called aksara murda or aksara gedhe (great or important letters) which are used for honorific purposes, such as to write the names of respected people.
• The order of the consonants makes the following saying, "Hana caraka, data sawala padha jayanya, maga bathanga" which means "There were (two) emissaries, they began to fight, their valor was equal, they both fell dead"

Used to write:

Javanese (basa Jawa), an austronesian language spoken by about 75 million people in Indonesia and Suriname.
The Javanese alphabet was also used to write Balinese and Sundanese, but has been replaced by the Latin alphabet.

The Javanese alphabet

Aksara consonants

Pasangan consonants

Aksara murda consonants

Subscript aksara murda consonants

Vowels, vowel diacritics and final consonant diacritics

Punctuation

Numerals

Sample text in the Javanese alphabet (Lord's Prayer)

Transliteration

Rama kahula hīkā wonten 'ī swarga. wasta sampeyan dadossa subši. sadžaman sampeyan rawuḥha. kars sampeyan dadossa 'ī bumi kados 'ī swarga. redžekki kahula kā saintendinten sukanni dinten puniki marī kahula. hambi puntan marī kahula dosa kahula, kados kahula puntan marī satungiltūgil titiyū kā salaḥ marī kahula. hambi sampun bekta kahula 'ī pertšoban. tapi tšutšullken kahula bari pada sā ṅawon, sabab sadžaman hambi kawasa sarta kamukten gusti kagū ṅannipun dumugi 'ī ṅawet. Amin
 

Latin alphabet for Javanese

Javanese pronunciation

Information about the Javanese Latin alphabet and pronunciation compiled for Wolfram Siegel

Sample text in Javanese

Saben uwong kalairake kanthi mardika lan darbe martabat lan hak-hak kang padha. Kabeh pinaringan akal lan kalbu sarta kaajab pasrawungan anggone memitran siji lan sijine kanthi jiwo sumadulur.

Translation

All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
(Article 1 of the Universal Declaration of Human Rights)
source

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Traditional Dance(1)

 There are lots of traditional dances (tari) in Indonesia, thanks to many different ethic groups in its 27 provinces. Usually, each province has its own youth dance, war dance and greeting dance. All which were developed long before Indonesia became one country on August 17, 1945. We have collected a couple popular dances from each province. And you are sure to find much more when you actually visit Indonesia.

the first one came from Sumatra region

Sumateranese dances
1. Northern Sumatera's Tor Tor
2. Aceh's Serampang Duabelas
3. Jambi's Sekapur Sirih
4. Riau Isles' Joget Lambak
5. Western Sumatera's Tari Piring
6. Southern Sumatera's Puteri Bekhusek
7. Bengkulu's Andun
8. Lampung's Jangget

Aceh

Tari Seudati:

Danced by 8 men and 1-2 other narrators and led by a sheh (dance leader). It doesn't need any musical instruments. The dance describes heroic characteristics of Acehnese.

Tari Saman (for men) and Meusekat (for women):

Developed from the traditional dance "Tepuk Ane" and played by 8-20 dancers. They kneel in a row on the floor or the ground and make many kinds of torso movements. It starts with a very slow speed which gradually becomes a rapid speed then stop suddenly. Accompanied by songs while clapping hands, slapping the chest, slapping hands on the floor.

Tari Rapa-ii Geleng:

It is a specific tambourine used in dancing and singing. Has 11-20 men dancers, similar to Saman.
 

North Sumatra
 
Tari Manduda:

Traditional dance of Simalungunese, portraying the people who are excited during

 
Tari Sekapur Sirih:

This is danced to greet guests who are visiting North Sumatra.

 
Tari Baluse:

A Nia warrior dance which shows brevity and courage
 

West Sumatra
 
Tari Piring:
This dance is uses plates with candles on top as one of the accessories. Dancers skilfully move their hands with the plates and candles in them. This dance symbolizes the tight and co-ordinated Minangkabau people.
 

Riau
Joget Lambak:

The dance is one of the means of socializing between young girls and guys.

 
Tari Tandak Riau:

This is also one of the social dances in Riau
 

Jambi

Tari Rangguk:

Full spirited dance, especially performed to greet some guests.

Tari Selampit Delapan:

A social dance for the teenage girls and boys

 
Tari Sekapur Sirih:

This dance differs from North Sumatran dance only in costumes and origin, but both of them serve as entertaining dances.
 

Lampung

Tari Jangget:

This is a special dance which is performed during traditional ceremonies. It portrays the morals of the people of Lampung.

 
Tari Melinting:

A dance that carries a legend. When Sunan Gunung Jati (one of the Nine Islam Sheikhs in Indonesia) visited the Kingdom of Pugung, he fell in love with Putri Sinar Alam--the princess--who was supposedly performing Tarin Melinting.

Tari Bedana:

A social dance with Islam influence
 

South Sumatra
Tari Kipas:

A social dance for teenage girls and boys of South Sumatra
 
Tari Tanggai:

A special dance to greet the guests of South Sumatra. All of the dancers have fake long gold nails as one of their accessories.
 

Bengkulu
Tari Bidadaei Terminang Anak:

It means a dance for a fairy who is cuddling a baby. This a traditional dance of Rejanglebong
 
Tari Andun:

This dance originated from the south of Bengkulu. It is a special dance to greet guests of honour.
  

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Batik(3)

This is a few of batik design

Batik Designs

Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck.Wedding Batik

Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore.

In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect.

Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs.

High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars.

Kawung

Kawung DesignKawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm).

Ceplok

Ceplok DesignCeplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals.

Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern.

Parang

Parang DesignParang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'.

The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments.

Washing Batik

Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight.

Modern Batik

Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are no Modern Batiklonger dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs.

Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms.

The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices.

Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a Modern Batikworld that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials.

During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks.

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Batik (2)

Here is how the batik made.

Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth. Click here to see the step-by-step process of making batik.

Waxing

Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas Applying wax with a Cantingof the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream.

Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting.

Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides.

The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful.

Applying wax with a copper capIf the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of cloth.

Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly.

Dyeing

After the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath.

The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax.

Dye BathWhen the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process.

When an area that has been covered with wax previously needs to be exposed so that it can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath.

If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the marble effect was accepted.

The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberally used.

Special Treatments

Prada or Gold Cloth

For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.

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Batik (1)

It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent.

                                 

The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”.

Selection and Preparation of the Cloth

Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained.

Applying wax with a canting to create BatikThe cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process.

Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco.

Design Tools

Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth.

Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas.

Wajan

Wajan is used to melt the waxThe wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity.

Blowing into the Canting keeps the wax flowing freelyThe best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design.

The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions.

Cap

Cap utilize copper string to make various designsCreating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting.

Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle.

The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent.

Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and theApplying wax with cap bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.

Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth.

Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques.

Dyes

Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black.

The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day.

In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia.

The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color.

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List of Regional Languages in Indonesia Based on Ordering Abjad

Language Used in the Region of Aceh Sumatra 
Alas Language Used in the Sumatra region 
Language Used in Alor Maluku Regional Area Around South East 
Language Used in the Region Around Ambon Maluku Regional East 
Language Used in Angkola Sumatera Region 
Language Used in the Aru area around Ambon, Maluku Regional East 
Bacan Language Used in the Region Around Sula Maluku Regional Bacan 
Language Bada 'Besona Used in the Region Around Toraja South Regional 
Bahau Language Used in the Kalimantan Region 
Bajau Language Used in the Kalimantan Region 
Balantak Language Used in the Region South Region Around Loinan 
Bali Language Used in Bali Region Bali 
Language Used in the Banda area around Ambon, Maluku Regional East 
Language Used in the Banggai Region South Region Around Loinan 
Language Used in the Banjar Kalimantan Region 
Bantik Language Used in the Region South Region Around Sulut 
Used in Batak Sumatera Region 
Belu Language Used in the Region Around Ambon Maluku Regional East 
Bobongko Language Used in the Region South Region Around Loinan 
Bonerate Language Used in the Region South Region Around Muna Butung 
Language Used in Bugis Region South Region Around South Sulawesi 
Bulanga Language Used in the Region South Region Around Gorontalo 
Bungkumori Language Used in the Region South Region Around Bungku Langku 
Buol Language Used in the Region Around Region South Gate 
Buru Language Used in Maluku Region South East Region Around 
Butung Language Used in the Region South Region Around Muna Butung 
Enggano Language Used in the Sumatra region 
Language Used in the Gayo Sumatra Region 
Geloli Language Used in the Region Around Ambon Maluku Regional East 
Goram Language Used in the Region Around Ambon Maluku Regional East 
Gorontalo language used in the Region Around Region South Gate 
Helo Language Used in the Region Around Ambon Maluku Regional East 
Iban Language Used in the Kalimantan Region 
Used in the Java language Java Region 
Sometimes the language used in Areas Around Ambon Maluku Regional East 
Kai Language Used in the Region Around Ambon Maluku Regional East 
Kaidipan Language Used in the Region Around Region South Gate 
Kail Language Used in the Region Around Toraja South Regional 
Language Used in the Kaisar Maluku Region South East Region Around 
Kalaotoa Language Used in the Region South Region Around Muna Butung 
Language Used in Karo Sumatera Region 
Karompa Language Used in the Region South Region Around Muna Butung 
Language Used in the Kayan Region Kalimantan 
Language Used in Kenya Kalimantan Region 
Language Used in the Region Klemautan Kalimantan 
Kroe Language Used in the Region Around Ambon Maluku Regional East 
Kubu Language Used in the Sumatra region 
Language Used in Other Areas Around Ambon Maluku Regional East 
Laki Language Used in Region South Region Around Bungku Langku 
Language Used in Lampung Sumatera Region 
Landawe Language Used in the Region South Region Around Bungku Langku 
Layolo Language Used in the Region South Region Around Muna Butung 
Leboni Language Used in the Region Around Toraja South Regional 
Leti Language Used in Maluku Regional Area Around South East 
Loinan Language Used in the Region South Region Around Loinan 
LOM Language Used in the Sumatra region 
Language Used in Luwu Region South Region Around South Sulawesi 
Language Used in the Region Madura Jawa 
Language Used in the Region South Region Around Sulsel 
Language Used in Mandailing Sumatera Region 
Mandar Language Used in the Region South Region Around Sulsel 
Mapute Language Used in the Region South Region Around Bungku Langku 
Melayu Lanuage Used in the Region Kalimantan and Sumatera Region 
Language Used in the Mentawai Sumatra Region 
Language Used in the Milano Area Kalimantan 
Language Used in Minangkabau Sumatera Region 
Mongondow Language Used in the Region South Region Around Sulut 
Napu Language Used in the Region Around Toraja South Regional 
Language Used in Nias Sumatera Region 
The Language of “sea people” Used in the Sea of Sumatra Region 
OT-Language Used in the Danum area Kalimantan 
Language-Pak Pak Used in Sumatera Region 
Pantar Language Used in the Region Around Ambon Maluku Regional East 
Pilpikoro Language Used in the Region Around Toraja South Regional 
Pitu Language Used in the Region South Region Around Sulsel 
Language Used in the Rejang Lebong Sumatera Region 
Language Used in Riau Sumatera Region 
Rome Language Used in the area around Ambon, Maluku Regional East 
Rote Language Used in the Region Around Ambon Maluku Regional East 
Sa'dan Language Used in the Region South Region Around South Sulawesi 
Salu Language Used in the Region South Region Around Sulsel 
Language Used in Sangir Region South Region Around Sulut 
Sasak language Used in Bali Region and West Nusa Tenggara also in East Nusa Tenggara 
Seko Languages Used in the Region South Region Around Sulsel 
Sikule Language Used in the Sumatra region Simulur Sumatera Region 

Solor Language Used in the Region Around Ambon Maluku Regional East 
Language Used in the Sula area Maluku Regional Around Sula Bacan 
Barat Language Used in the Region Sumba Nusa Tenggara Barat 
Language Used in the Sumbawa Region of East Nusa Tenggara 
Sunda language Used in Sundanese Java Region 
Language Used in Talaud Region South Region Around Sulut 
Language Used in the Region Taliabo Maluku Regional Around Sula Bacan 
Tambulu Language Used in the Region South Region Around Sulut 
Tanibar Language Used in the Region Around Ambon Maluku Regional East 
Language Used in Ternate Maluku Regional Areas Around North Halmahera 
Tetun Language Used in the Region of East Nusa Tenggara and Ambon Maluku Regional East 
Language Used in the Region Tidore Maluku Regional Around North Halmahera 
Timor Language Used in the East Region of East Nusa Tenggara and the East Region Around Ambon Maluku Regional East 
Tombatu Language Used in the Region South Region Around Sulut 
Tomoni Language Used in Tomini Region South Region Around Tomoni 
Tompakewa Language Used in the Region South Region Around Sulut 
Language Used in Tondano Region South Region Around Sulut 
Tontembun Language Used in the Region South Region Around Sulut 
Toraja Language Used in the Region Toraja Sulawesi Toraja Region Around 
Uluna Language Used in the Region South Region Around South Sulawesi 
Walio Language Used in the Region South Region Around Muna Butung 
Wetar Language Used in the Region Around Ambon Maluku Regional East 
Language Used in the Region Windesi Maluku Regional Around South Halmahera 
Wotu Language Used in the Region Around Toraja South Regional 

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Indonesian Archipelago

Consisting of more than 17,000 islands, the vast Indonesian archipelago spans 5,120 km across the equator, positioned between the Asian and Australian continents. Four-fifths of the area is sea with the major islands of Sumatera, Java, Kalimantan, Sulawesi and Papua. The 300 ethnic groups that exist harmoniously give birth to a potpourri of cultures and fascinating people. The major ethnic groups are: Minangkabaunese, Malay, Javanese, Sundanese, Maduranese and Ambonnese. Arab, Chinese and Indian immigrants have also settled in regions throughout the country, particularly in the coastal cities. 

Geographically, Indonesia's landscape is greatly varied. Java and Bali have the most fertile islands and rice fields are concentrated in these two regions, whereas Sumatra, Kalimantan, Sulawesi, Maluku and Papua are still largely covered with tropical rainforest. Open savannah and grassland characterize Nusa Tenggara.
 The lowland that comprise most of Indonesia has a characteristically tropical climate with abundant rainfall, high-temperatures and humidity. Rainy Indonesia's tropical climate and unique geographical character provide shelter for flora and fauna that are as diversely rich as its land and people. The plant and animals in Indonesia's western region represent that of mainland Asia while those in the eastern region are typical of Australia. Endemic species, which are the pride of Indonesia exist in the central region, such as orangutans, tigers, one-horned rhinos, elephants, dugongs, anoas and komodo dragons. The warm tropical waters of the archipelago nurture a rich marine environment that holds a myriad of fish, coral species and marine mammals.

A cultural heritage passed on through generations offers a wealth of traditional arts and crafts. Batik, wooden carvings, weavings, silverworks and many other traditional skills produce exquisitely beautiful items. Indonesia's multi-racial and multi-religious culture mean festivals steeped in traditions are celebrated throughout the year. Frequently featured in these events are dances, wayang theaters and other performing arts. 

 
  

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