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Discover the rich culture and natural beauty of Indonesia with this beautifully illustrated wooden jigsaw puzzle. Featuring a map of Indonesia with 152 precision-cut wooden pieces, this puzzle is perfect for both children and adults who love geography, history and culture.

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The visit received reasonable if not saturation coverage: Kompas ran a front page photo with the story on the international page, Media Indonesia went front-page for story and photo, while Jawa Pos ran a large photo on p.16 but with little text. In the four papers surveyed, no editorial or opinion piece covered the visit.

The issue was all that was mentioned in Jawa Pos ('[Indonesia and Australia] Agree to Overcome Boat People'), occupied all but three paragraphs of the Koran Tempo piece ('Indonesia and Australia Wage War on People Smuggling'; Koran Tempo also covered Human Rights Watch's statement on Australia and asylum seeker rights on Monday) and all but two of Kompas' coverage. Media Indonesia was the only one of the papers surveyed to mention the trade delegation accompanying Abbott. The paper also included a graphic of 'Tony Abbott's Campaign Promises' as well as bilateral trade figures for the past six years.

Kompas headlined its coverage 'RI-Australia To Overcome (People Smuggling) Together'. An editorial in the same paper the week prior had run under the headline 'Indonesia Rejects Australia's Stance'. The piece made no explicit mention of towbacks, quoting President Yudhoyono's statement that 'This forum was not to discuss operational activities in detail', and citing Abbott's comments that Australia respected Indonesia's sovereignty. The piece opened with 'President Susilo Bambang Yudhoyono and Prime Minister Tony Abbott are both committed to overcoming the problem of people smuggling.'

The paper ran a follow-up piece today ('Australia Returns Immigrants to Indonesian Ship') quoting conservative commentator and international relations professor Hikmahanto Juwana, who criticised Indonesian search-and-rescue for reportedly receiving rescued asylum seekers last week off an Australian rescue boat.

On December 15, 2021, Gamelan was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The nomination builds on the archaeological connection to the Borobudur, and includes a focus on its role in fostering a sense of national identity and pride, in addition to wellbeing aspects such as mental health, the development of interpersonal skills and the connection between its cosmology and an ethics of mutual respect and care. The listing consists of Javanese gamelan (gamelan jawa) of Central Java and Special Region of Yogyakarta, Balinese gamelan (gamelan bali) of Bali, Sundanese gamelan (gamelan sunda) of West Java, Madurese gamelan (gamelan madura) and Banyuwangian Gamelan (gamelan banyuwangi) of East Java, Gendang beleq of West Nusa Tenggara, Banjarese gamelan (gamelan banjar) of South Kalimantan, Gamelan peking of Lampung, and Talempong of West Sumatra as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the gamelan.[8] Methods include the support of national, international and provincial festivals, the establishment of educational curricula including the Gamelan Goes to School program, an intention to increase the numbers of regional gamelan associations, and cultural diplomacy by sending gamelan specialists to global universities.

A gamelan is a multi-timbre ensemble consisting of metallophones, xylophones, flutes, gongs, voices, as well as bowed and plucked strings. The hand-played drum called kendang controls the tempo and rhythm of pieces as well as transitions from one section to another, while one instrument gives melodic cues to indicate treatment or sections of a piece.

The sekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new pieces. When they are working on a new piece, the instructor will lead the group in practice and help the group form the new music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise, so the group will write the music as they practice it. There are many styles in Balinese gamelan. Kebyar is one of the most recent ones. Some Balinese gamelan groups constantly change their music by taking older pieces they know and mixing them together, as well as trying new variations of the music. Their music constantly changes because they believe that music should grow and change; the only exception to this is with their most sacred songs which they do not change. A single new piece of music can take several months before it is completed. Men and women usually perform in separate groups.

Gamelan music is traditionally not notated and began as an oral tradition. In the 19th century, however, the kraton (palaces) of Yogyakarta and Surakarta developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the balungan (melodic framework), and horizontal lines which represent the series of beats, read downward with time. The fourth vertical line and every fourth horizontal line (completing a gatra) are darkened for legibility. Symbols on the left indicate the colotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes.[37]

Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung".[45] Some performances are associated with royalty, such as visits by the sultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as the Gamelan Sekaten, which is used in the celebration of Mawlid an-Nabi (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of the Catholic church in Indonesia.[46] Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as "Udan Mas") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers and can be used to ward off evil spirits.[45] The religious rituals that accompanied by gamelan such as: sekaten,[47] temple rituals, melasti, galungan, Ogoh-ogoh, etc.

Direct homages to gamelan music are to be found in works for western instruments by John Cage, particularly his prepared piano pieces, Bla Bartk, Francis Poulenc, Leopold Godowsky, Olivier Messiaen, Pierre Boulez, Bronislaw Kaper and Benjamin Britten. Colin McPhee, Lou Harrison and Claude Vivier would travel to Bali and Java to document the theory of gamelan, and subsequently incorporated it in their compositions. In more recent times, American composers such as Henry Brant, Steve Reich, Philip Glass, Dennis Murphy, Loren Nerell, Michael Tenzer, Evan Ziporyn, Daniel James Wolf and Jody Diamond as well as Australian composers such as Peter Sculthorpe, Andrew Schultz, Paul Grabowsky and Ross Edwards have written several works with parts for gamelan instruments or full gamelan ensembles. Several New Zealand composers have composed for gamelan or incorporated elements of gamelan into their music such as Jack Body, Gareth Farr and Anthony Ritchie.[55] ff782bc1db