Bangsal Witono

The intricately decorated Bangsal Witono on Sitihinggil

In the rear of the Bangsal Manguntur Tangkil is a large open hall, Bangsal Witono, which is oriented to the four cardinal directions, keblat pajupat. It has a beautiful tajug form, resembling the structure of a mosque (but without the 'gulu meled'), and an elegantly decorated coloured tiled floor. It was originally erected by Paku Buwono III (r. 1749-88), but rebuilt by Paku Buwono IX (r.1861-93), as signified by the chronogram Inggiling Sitihinggil Kaesti Ratu (AJ 1810/ AD 1888).

Bangsal Witono was originally used as a seating area for the women palace retainers. These included the bedhoyo dancers, the manggung, kefanggung,joko paloroloro, emban, inya, ceti, and parekan who brought the required objects when Sinuhun was sitting on the Sitihinggil throne. These objects consisted of objects all made of gold, carried and displayed on trays, including the fabled sawunggaling, kukutuk mino and ardo waliko. Some other pusoko, like talempak, gongs, shields, swords, arrows, bramastro, and other weapons were also carried by these young women attendants, who would sit at Sinuhun's feet.

At the court of Java's first Islamic state, Demak Bintoro (early 16 1h century) Bangsal Witono was where the sultan met with the religious leaders who introduced Islam to Java, Wali Songo. The name witono is derived from the Arabic term bachasal watona, meaning 'discussions on the homeland and people of the nation'.

East of Bangsal Sewoyono and Witono are two smaller structures, Bangsal Gandhekan Tengen and BangsalAngun-Angun, both half-open and facing west. Bangsal Gandhekan Tengen, deriving its name from the court's dignitaries known as Gandhek (messengers) would host one of the court's gamelan orchestras on the occasions of Garebeg and other public festive occasions. When the ruler and his cortege arrived from the karaton, on his way to Pagelaran it would play one particular composition, kodok ngorek, using the fabled gong Kyahi Sekar Delimo. The other open pavilion, Bangsal Angun-Angun would host gamelan Kyahi Kanigoro, using the ancient gong Kyahi Surak.

On the western side of Bangsal Sewoyono and Witono are two other buildings, a low, closed, and sturdy-looking one, Bangsal Bale Bang, and a more elegant, half-open one facing east, Bangsal Gandhekan Kiwo. The latter was used by the gandhek dignitaries as well, like Bangsal Gandhekan Tengen on Sitihinggirs western side. However, on the occasions of Garebegand other important festivals, when the ruler had guests who were assembled in Bangsal Sewoyono, here their refreshments were prepared. Next to this building is Bangsal Bale Bang, used to store some of the court's gamelan -orchestras.

Among the instruments stored here are gamelan Patalon Kyahi Singokrungu (or 'Saturday's gamelan, a.k.a. gamelan Setu); Gamelan Munggang, which is played to honor guests and is now often positioned near the main entrance to the karaton on festive occasions or receptions; Gamelan Kodok Ngorek Kyahi Panji, played at 5 o'clock a.m. at every Garebeg-, Gamelan Corobalen Kyahi Rendang, also known as Corobalen Pra) . urid Baki, with instruments that can be carried while being played, which is often part of festive

processions, such as Garebeg-, Gamelan Gento, which, due to its peculiar tuning, can perform Javanese as well as European compositions; Gamelan Sukasih and Pamesih, used for the accompaniment of performances of wayang kulit, the traditional shadow puppet-theatre; Gamelan Terbang or Santiswaran (terbang or rebana are hand-held circular tambourines, each with a different tuning/pitch), used to accompany for recitals of Islamic and other poetic texts, known as santisworo. Finally in the center of Bangsal Bale Bang, under a special covering, are some of the karaton's pusoko or sacred, heirloom gongs. These include 'Kyahi Surak" said to have originated from the kingdom of Bone in the era of Prabu Suryowiseso of jenggala ( I 11h_ 12 1h century); Kyahi Kanigoro, which allegedly originated from the region of Pengging but was brought to the court of Demak (early 16 1h century); and Kyahi Brojo Herowono.

The entire Sitihinggil terrace is characterized by several types of trees and other plants. Besides being esthetically pleasing and providing shade and protection from the sun and the rain, all of these have a special symbolic meaning. In the northern part of the Sitihinggil courtyard, from west to cast, there is a row of Angsoko trees, symbolizing'rich in happiness'. In the western part there is another row of trees, from north to south, originally Blimbing Lingir, Gayam, and Kepel Watu trees. 'Blimbing' here is seen as an acronym for baliyo ing tembing, ,returning to the original', 'holy'. 'Gayam' is a homophone of ayem,'serene'. AndKepel Watu' stands for: samiyo anyingkiri pangesti kang awon utawi kang sanes amestinipun, meaning ,one better puts aside anything that is bad or unnecessary'. In Sitihinggil's cast, planted in a row from north to south, were Manggo or Pelem trees, jambu klampok, and Kepel gedhang. Put together, these hold the advice: getemo akeklumpuk kepelan gedhang, or'strive for your ideals efficiently and effectively'. Even though many of the original trees have been replaced with other beautiful and shady trees, some of the original trees still remaining include the Angsoka, Kepel watu, and Kepel gedhang trees.

Leaving Sitihinggil's courtyard, passing the great, open Bangsal Witono, one goes southwards and comes to a terraced floor descending behind a dividing screen-wall, kehr. It closes off the Sitihinggil area and has a flight of broad stairs on both sides. Originally there was a gate or carved wooden fence here, Kori

Renteng, which has now become the name of the dividing wall. At the southern end of the terraced floor, having descended from Sitihinggil's terraces is another gate, also facing south, Kori Mangu. Originally a swinging door made of iron, it has now been replaced by a low, sliding gate made of iron bars. It is the entrance to the karaton's main outer gate, Kori Brojonolo, and courtyard, Kamandungan.