The Original Named of Indonesia

Map of Indonesia

In India, the Dutch colonial period it appears the name of Indonesia. First used by two Englishmen, namely George Samuel Windsor Earl, a lawyer born in London, who with James Richardson Logan, a Scottish-born lawyer, wrote an article as much as 96 pages in the Journal of the Indian Archipelago and Eastern Asia No. 4, 1850, under the title "The Ethnology of the Indian Archipelago: Embracing Enquiries into the Continental Relations of the Indo-Pacific Islanders." They named the Dutch population-western India who came Proto-Malay (Melayu old) and Deutero-Malay (Melayu young), as Indunesians (Indu, the Latin, meaning: India; sia, as long as he is nesos, Greek, meaning: islands). While people in the eastern part of India and the Netherlands into the category of Melanesians (Mela = black. islands of Melanesia = black people). Therefore, the Earl himself and then tend to use the term Malay-nesians, to call the Dutch population-western India. Logan then change Indunesia into Indonesia (Indos and Nesos, both derived from the Greek) in his writings on the Journal.

Adolf Bastian, as well as German a doctor and ethnologist, who popularized the name of Indonesia when it published a report of travel and research in Berlin, which published the work of five volumes (1864-1894) entitled "Indonesien, oder die Inseln des malaysischen Archipels" (German , meaning: "Indonesia, or the islands of the Malay archipelago"). Volume I titled the Moluccas, Volume II East and Surrounding Islands, vol III and Surrounding Regions Sumatra, Kalimantan and Sulawesi Volume IV, Volume V of Java and Closures. Since the first until now, scientists prefer to use the term European / Latin or Greek word for naming things in connection with the scientific, as well as to call the race of residents on area of ​​Malaya and the Dutch parts of western India.

Eduard Douwes Dekker, in his book "Max Havelaar" said India -Dutch with the name Insulinde, variations in the Dutch language for India Islands. When Indische Partij (India party)), founded by his nephew was banned by the Dutch Government of India in 1913, its members founded the Party Insulinde.

Well Indunesian, Indonesien or Insulinde all means India Islands, to show the identity of the native who live in the western part of India-Dutch, while living in the east-Flores, Timor, Maluku and Papua, in fact are the people Melanesia (the islands black people). Which included the first use of the word Indonesia in the early 20's was the Association of Indonesia in the Netherlands, Sam Ratu Langie and the Communist Party of Indonesia.
 

So Indonesia said that until now used by the Republic of Indonesia it means none other than: India Islands.
Other than Indonesia, which uses the name "created" by the British and later popularized by the Germans, also Phillipina (Philippines), which still uses the name of colonial heritage. When the people of Spain controlled the territory, as the dedication to the king of Spain, Phillip, the colony was named Philippina.

Many countries after independence to rename the "created" or administered by the colonial, such as Ceylon became Sri Lanka, Burma became Myanmar, Indo-China into Vietnam, Rhodesia became Zimbabwe, Gold Coast became Ghana, South-West Africa to Namibia, etc..
 

So if these people agreed to leave the name was created by Europeans, then Indonesia is not the first country to change the name of the heritage the colonial period.

Wayang Golek : Art Puppet Theater of West Java

Wayang Golek

The painted wooden puppets on the preceding page are old examples from the still thriving and important folk art puppet theater of Java in Indonesia.  Although tourist shops now sell imitations of wayang golek puppets, the puppets illustrated on these pages were actually used for many years in theater productions--in presentations of Hindu epics, Javanese history plays and the Islamic Menak cycles. These performances were given in towns and villages on holidays and for a variety of festivals, as were the distinctive shadow-puppet plays.  A dalang, or puppet master, manipulated the puppets, spoke their parts, and coordinated the puppets' actions with music from a gamelan orchestra.

Tatang Haryana And Wayang Golek

Like so many other crafts in Indonesia, making wayang golek is a skill handed down through families. The master puppet-maker usually makes the head because it expresses the personality of the puppet. Ceremonies are performed before commencing a deity or a demon. A piece of light, local softwood, which is easy to carve and not too heavy to hold up during a performance, is sawed or chopped down to the right size, and the main features are roughly chiseled. After sanding, fine decorations such as the parts of a crown are carved in with more care and sanded. The smooth surface receives a coat of glue-based paint, which will enable subsequent coats to adhere well.  Lips, flowers and some bits of jewelry are painted red, as are the irises of angry characters. Blue is also used for eyes and sapphire jewelry. Fine black lines are painted for eyes, eyebrows, moustaches and wisps of hair....Bodies are often made by younger members of the family, and arms are attached at the elbow and shoulders with string so that they move easily. The shapes of hands also express character and role; those of nobles stretch out gracefully, but servants and commoners have large open palms. A rod passes from a hole in the base of the puppet's head and down through the body to form a handle. Costumes are usually made by wives. ...Since the stories portray historical and human rather than divine affairs, the puppets, like those used for history plays, are always fully clothed in Central Javanese traditional dress with batik sarongs.

Puppet body types can be identified across a spectrum which ranges from alus (extremely refined) to kasar (extremely rough and crude).  Refined, virtuous characters have small dainty bodies, slitted oval eyes with pupils shaped like rice grains, pointed noses and a modest downward gaze...  Vigorous or turbulent characters have a more direct and confrontational stare. As the personality of the puppet becomes less refined, there is an increase in size; the nose becomes heavier and blunter; eyes and pupils become larger and rounder and the gaze more aggressive; teeth and gums may be exposed in a snarl or a foolish sneer.  The more refined middle-sized puppets may represent courageous but impetuous kings and heroes; the coarser ones suggest an uncontrolled or evil nature. The largest puppets are used for those whose greatest attribute is physical strength.

The most frequently performed narratives derive from the Hindu epics. The Arjuna Sasra Bahu and Ramayana cycles concern the affairs of the noble Rama himself and his ancestors. Favorite stories concern Rama's marriage to Sinta; their banishment to the forest together with his brother Laksmana; Sinta's abduction by the monster king Rahwana; and her subsequent rescue, with the aid of the monkey king and after numerous battles, from  the kingdom of Sri Lanka. The Ramayana contains many episodes from the lives of these characters which are emphasized in varying degrees to form separate plays in their own right.

Pandawa Brothers

The Mahahharata tells of the conflict between the superior Pandawa brothers (Judistra, Bima, Arjuna, Nakula and Sadewa) and their hundred jealous and mendacious cousins, the Kurewas, who drive them away from their home at the court of Astina, to wander in the wild.  In the forest the Pandewas build the lovely and idealized kingdom of Amarta where the majority of the plays are set. The heroic quests, battles with vile ogres and scenes of romantic love are made all the more poignant by the knowledge that the glory and beauty are fleeting. Events are presented as taking place in Java rather than India, and the heroic Pandewas, descendants of Vishnu, are the ancestors of the Javanese kings. Many episodes have simply been invented by puppeteers over generations.

Tatang Haryana Play Wayang Golek

The court scenes also allow scope for the comic misadventures and intrigue of the Pandewas' clown servants, the Punakawans:  Semar the wise, whose identity is thought to have evolved from that of the pre-Hindu Javanese god Ismaya and his sons. The inane and melancholic Gareng, with his round drooping nose, is the butt of jokes and tricks played by the sharp Petruk. Philosophical and mystical speculations made by the refined characters provide an intellectual and spiritual dimension for members of the audience with a taste for high seriousness.

http://asiarecipe.com/indogoleng.html 

http://travel.detik.com/read/2010/12/08/213404/1512372/1025/6/golek-bukan-boneka-biasa