Welcome to the Taman Gandrung Terakota virtual gallery. A cultural site dedicated to preserving the Gandrung dance, the artistic and cultural icon of Banyuwangi, amidst a serene rice field landscape.
Conceived by Sigit Pramono, this place is the antithesis of a giant monument—hundreds of terracotta (earthenware) Gandrung dancer statues are laid out here. They are fragile and easily broken, reminding us of the cycle of life: from earth, back to earth.
Select a category, then click on a collection to read its full story.
Gandrung dance is a traditional dance originating from Banyuwangi. The word “gandrung” signifies the agrarian society's fascination with Dewi Sri (the Rice Goddess) who brings prosperity. Originally a post-harvest thanksgiving ritual, this dance is now performed in pairs (Paju Gandrung) accompanied by Osing Gamelan music.
Terracotta (pottery or fired clay) is ceramic produced through low-temperature firing. Taking the form of Gandrung dancers, chickens, Javanese ablution jars (padasan), and water jugs (kendi). Its core philosophy lies in the fragile nature of this material: “Nothing is permanent in this life. From earth, back to earth.”
Depicting the spiritual relationship between Dewi Sri and the Gandrung Dancer. Following the grand harvest, the farmers' expression of gratitude is manifested through dance. The local community believes that Dewi Sri (the Goddess of Fertility) incarnates into the body of the Gandrung dancer during every post-harvest ceremony.
Twelve Gandrung statues are arranged in a circle, showcasing one of the movements in the Jejer Gandrung Kembang Menur dance, known as the MASKOT movement. This dance symbolizes joy akin to a blooming flower, an expression of gratitude and happiness for an abundant harvest.
Gandrung dance generally carries the meaning of a thanksgiving prayer during the harvest. The same applies to Jejer Gandrung, except that this traditional dance is more focused on welcoming dances or greeting guests. According to Mamiek Suharti in Tari Gandrung sebagai Objek Wisata Andalan Banyuwangi (2012), the main essence of the jejer dance is to offer a welcome or to greet guests.
The Terracotta Poultry Park is one of the attractions at Taman Gandrung Terakota that combines art, nature, education, and family recreation within a unique space. Stemming from the need to provide an experience that can be enjoyed by visitors of all ages, this park provides a play area for children through earthenware and terracotta poultry statue installations that align with the artistic concept of Taman Gandrung Terakota.
In addition to art installations, the Terracotta Poultry Park also features a mini zoo (mini zoo) showcasing various types of poultry, such as peacocks, Bekisar chickens, Pelung chickens, silkie chickens, helmeted guineafowls, laughing chickens, as well as waterfowl such as geese, ducks, and muscovy ducks. The presence of these diverse animals offers an opportunity for children and families to get closer to avian diversity through a recreational and educational experience amidst a natural atmosphere.
More than just a playground, the Terracotta Poultry Park is part of the artistic and philosophical vision of Taman Gandrung Terakota. The use of earthenware and terracotta as the primary medium serves as a form of art exploration that highlights simplicity, fragility, and humanity's connection with nature. The clay material, which can return to earth when shattered, presents a reflection on the cycle of life—that humans come from the earth and will ultimately return to the earth.
Combining art, nature, and education, the Terracotta Poultry Park offers an experience that is not only enjoyable for children, but also meaningful for the entire family. A space to play, learn, appreciate art, and discover life values through the simplicity and beauty of terracotta.
The water buffalo, or 'kebo' in Javanese, is an animal deeply rooted in Banyuwangi's traditions and culture. It symbolizes the cooperation between farmers and plow animals that play a role in helping farmers fertilize the land.
This water buffalo sculpture is presented in a sequence ranging from an intact buffalo figure to a form of a buffalo sinking into the earth.
This work is intended as a critical reflection on progress that displaces local wisdom—an 'owahing jaman', the changing times. Additionally, there is a village that still frequently holds the traditional kebo-keboan ritual in agricultural areas, specifically in Krajan Hamlet, Alasmalang Village, Singojuruh District, Banyuwangi (located 33 km from TGT).
Bamboo plants can be easily found from the entrance gate to the fences of the park area. There are 58 species of bamboo specially brought in from China, Thailand, to Latin America.
The bamboo is well-planted to restore Banyuwangi's bamboo forest ecosystem, which has become increasingly rare. Furthermore, bamboo also has excellent water retention properties. Thus, it is hoped that this bamboo park can continuously preserve the surrounding water sources.
Banyuwangi's cultural arts were born from ethnic diversity. There are seven major ethnic groups living harmoniously side by side in Banyuwangi: the Osing, Mataram Javanese, Madurese, Balinese, Mandar, Chinese, and Arab communities.
This structure is part of the Joglo House (traditional Javanese house) known as a Pendopo. This section of the house is located at the front and is typically used for formal activities, such as meetings, shadow puppet (wayang kulit) performances, dance performances, and traditional ceremonies. The wood used in its construction is teak wood over 50 years old.
Tumpang sari is the core construction part and characteristic of the Pendopo roof framework. This framework is located in the 'brunjung' roof frame structure (an inverted pyramid shape that widens upwards, combined with the 'uleg' frame structure placed tiered above the four 'soko guru' pillars) and the 'uleng' frame structure (a pyramidal roof frame structure arranged above the four 'soko guru' pillars toward the interior).
The number of carved tumpang sari layers depends on the owner's preference. Tumpang symbolizes the social status level or rank of the Joglo owner. The more tumpang sari layers, the higher the social status or wealth of the owner.
Tumpang sari, or the tiered beam structure on a Joglo building, must have an odd number of layers, ranging from 3, 5, 9 to 11 tiers. The number of interior tumpang sari layers in this pendopo is 11 tiers, and the exterior tumpang sari totals 3 tiers.
A plow (also known as *luku* and *tenggala*) is a traditional agricultural tool used to loosen the soil before planting and sowing seeds. A plow is usually pulled by a cow or water buffalo. Behind the plow pulled by cattle or buffalo lies a profound philosophical teaching from Sunan Kalijaga.
In Javanese, a plow is called *LUKU*. Stemming from the word *LAKU* or *MLAKU*. This means that plowing a rice field is likened to someone embarking on a journey of life. Therefore, in carrying out this activity, one must adhere to several principles—namely, the various parts of the *LUKU* (plow) tool such as Cekelan, Pancadan, Tandhing, Singkal, and Kaijen.
Parts of the Luku:
A traditional tool used to cultivate and break up soil clods after plowing. The use of a harrow aims to level the soil surface, creating a better planting medium for rice seeds.
A *lesung* is a traditional tool used in processing unhusked rice or grain into rice. The function of this tool is to mechanically separate the grain husk (hull, Javanese *merang*) from the rice grain.
The *lesung* itself is essentially a concave basin, usually carved out from a large tree trunk. The grain to be processed is placed inside this cavity. The rice or grain is then pounded repeatedly with an *alu* (a thick wooden pole) until the rice separates from the husk.
A hanging lamp, historically known as a rope-and-pulley lamp (*lampu kerek*), later became known as a pulley lamp (*lampu katrol*). The latter term refers to a lamp that can be raised and lowered using a pulley.
This lamp is a heritage piece from the Dutch colonial era before electricity reached the archipelago. The lamp frame is adorned with exquisitely detailed floral motifs. The presence of this lamp in a room evokes a glimpse of romantic historical nostalgia from the past.
The Gandrung Courtyard is located within the rice field area. Hundreds of terracotta statues in the form of Gandrung dancers, chickens, and ablution jars are neatly arranged to tell a story. Terracotta is produced from lower temperature firing (below or a maximum of 1000°C), making it more fragile, vulnerable to impact, prone to cracking, and even shattering. It will eventually fall back to the earth.
This fragile nature reminds us all that nothing is permanent in this life. From earth, back to earth. Much like cultural practices, terracotta does not aim to create an eternal or everlasting form. Because what endures is the process, the meaning, and the values embedded within it.
Terracotta, with the meaning that “Nothing is permanent in this life. From earth, back to earth,” serves as the philosophical foundation for various forms of Terracotta statues.
In this pond, the Gandrung dancers also clasp their hands together, signifying that the Gandrung dancers are “ready to serve with all their heart.” They will continue to create art wholeheartedly until the end of their lives, represented by dancer statues standing perfectly upright, half-submerged, to sinking completely into the pond.
Throughout their journey, they believe that nothing is in vain in continuing to preserve the Gandrung Dance. The Gandrung dancer statues lined up in a circle and displaying dancing motions illustrate that success in life will certainly be achieved if one continues to create art wholeheartedly. This is the success phase of the Gandrung dancer.
The Osing Barong bears a distinct identity bridging Javanese and Balinese sensibilities, Islam and Hinduism, mountains and oceans, the sacred and the profane.
Its form resembles the Balinese Barong: a depiction of a mythical beast, fierce, with bulging eyes, fangs, and a moving jaw.
In the past, this barong performance was limited strictly to ritual events, but today it is commonly performed at more secular gatherings, such as wedding celebrations, circumcisions, and government holiday commemorations.
Painted umbrellas are more commonly known as Juwiring Umbrellas. This name is taken from 'Juwiring', which is the subdistrict that serves as the center for these painted umbrellas (Juwiring Subdistrict in Klaten Regency, Central Java).
These umbrellas are generally used as ceremonial equipment, providing shelter from the scorching sun or rain.
Crafted from bamboo and having gone through an intricate manufacturing process, they are entirely handcrafted using human labor to this day. Batik patterns and floral motifs predominantly adorn their painted designs.
Several regions also use these for ceremonial purposes, such as in Bali (Ngaben cremation ceremony), the Surakarta Palace (Suronan & Muludan ceremonies), and the Yogyakarta Palace (Labuhan ceremony).
