Lulo dance is a dance typical tribal society Tolaki

Dance Malulo or Lulo (from Language Tolaki: Molulo), is one type of traditional dance arts of the region of Southeast Sulawesi, Indonesia. In Kendari (Southeast Sulawesi - Indonesia) there are several tribes. Tolaki tribe as one tribe in this region has some traditional dances, one of the traditional dances are often performed to date was a dance called the dance of friendship Lulo. 
This dance is performed at traditional ceremonies such as weddings, parties and harvest the king's inauguration ceremony, accompanied by percussion instruments of the gong. This dance is performed by men, women, teenagers, and children who were holding hands, dancing to the rhythm of the gongs while forming a circle. Gong used usually consist of 2 types of different size and type of sound. At present mainly in urban areas, gongs as musical accompaniment lulo dance has been replaced with modern instrument that is "electone".
 The purpose is as a means to tighten the relationship and not infrequently also used as a forum to find a mate. But in its development, this dance is also held when there are officials or important visitors who come to visit the province of Southeast Sulawesi. In this dance, presented beautiful dancers who accompany the guides as well as officials or VIPs to participate dancing. Participants dance is not limited by age or class, anyone can take part in the dance lulo, rich and poor, old, young may even if you are not a tribe Tolaki or from other countries can join in this dance, the important thing is to follow the movements of this dance . The philosophy of dance "lulo" is a friendship, which is addressed to young people as a venue for an introductory rate Tolaki, find a mate, and tighten the brotherhood. In ancient times, when Dance Lulo be a means to find a mate, there are very strict ordering systems. When will enter into the dance arena for example, the dancers must enter from the front and not allowed to enter from the rear. Also, when will invite prospective couples to dance, especially male partners who are looking for a female partner, should seek a woman who was paired with a woman. So, a man is not allowed to invite a woman who has been paired with another male. This is to anticipate in order to avoid misunderstandings when the dances take place. There is also another rule that is interesting to note, such as when there is rejection of potential mates. If a man looking for couples was rejected by the woman, then man fined customary, namely a buffalo plus two pieces of gloves (toloa). However, this penalty does not apply vice versa to the woman. Over time, ordering systems applicable in this dance are becoming obsolete. Dance Lulo has a simple and regular motion, so that makes it easy for anyone to do it. Usually, this dance is done with a regular motion and spin in a circle while the music that go with it. Lulo dance done with love ria while swaying and holding hands between one dancer to another dancer. Fingers intertwined with the couple at his side, so that your palms meet each other with the palm of his hand position is under the palm of her hand. This was done so that the movement of dance can run in harmony, and the top woman's body was not touched by her partner when dancing. The position of this hand is a symbol of status, role, ethical men and women in the life Most important of all is the sense of Lulo own dance, which reflects that community Tolaki are the people who love peace and prioritize friendship and unity in living life. As society Tolaki philosophy expressed in the form of proverb samaturu, medulu ronga mepokoaso, which means that people undergo Tolaki in their respective roles are always united, working together, mutual help and mutual-help aids.

source :

http://budaya-indonesia.org/iaci/Tari_Lulo

http://id.wikipedia.org/wiki/Tari_Malulo

pakacaping is a traditional musical instrument south sulawesi

Region of South Sulawesi province is an area located in the eastern part of Indonesia. In this region there are four major ethnic groups, ie ethnic Bugis (To-Ugi), ethnic Mandar (To-Menre), ethnic Tator / Tana Toraja (To-King), and ethnic Makassar (To-Mangkasara). Ethnicity has a different culture. One of the culture as a marker to indicate the difference is the language used. Another significant difference can also be shown through traditional cultural performing arts such as dance and musical arts. In this case the scope of the limited area in Gowa district-majority ethnic Makassar (To-Mangkasara). Gowa district with the capital Sungguminasa is one of regencies in South Sulawesi rate sufficient level of development, especially if the rate of rate of development compared with other district-majority ethnic Makassar. Developments in Gowa district to happen since it is supported by two aspects, namely the history and aspects of the layout area. According to aspects of its history, Gowa district is a former regional administrative center of the largest empire in eastern archipelago ever achieve greatness in the reign of the king of Gowa who to IX under the reign of a king named Daeng Matanre Karaeng Mangnguntungi Tumaparisi 'Kallonna (1510-1546 .) In addition, Gowa district is an area of ​​central and transit trade activities of community development that occurred in Gowa district today, of course, not separated by the local government figures, the figure Rewako Gowa (Gowa bold) step forward, no day without a change , and no day without improvement. Gowa district with all forms of development at present have an impact on the lives and culture of the local community. Traditional performing arts in Gowa district is one element of the culture of communities affected by development. These impacts occur both in urban districts and in pockets of rural areas. In Gowa district, there are several diverse types of traditional performing arts, among them the art of dance performances Pakarena, dance Gandrang Bulo, (kind of kids dance), dance Pamasari (Masri), ritual music vocal Cooperation, Music Gandrang Pa'balle ritual, theater said Sinrili ', Angngaru, Pakacaping art of traditional music, and so forth. Types of traditional performing arts, until now still can be seen through the events mores, such as indigenous party wedding ceremony, circumcision, circumcision, the great days of empire, the great days of statehood, in the framework of cultural festivals, and even in show special events which are managed conventionally. Types of traditional performing arts in Gowa district, as mentioned above are generally regarded has been progressing, especially looking at specifically to the existence of traditional music pakacaping today. In accordance with the above description, it appears the problem is interesting to put forward as study material in this article. The problem in question is how the existence and development of traditional music pakacaping in Makassar ethnic communities in Gowa district and how to shape the presentation of traditional music pakacaping. It aims to examine in depth about how the existence and development of traditional music Pakacaping and how the form of presentation. This study also aims to determine the developmental aspects of traditional music Pakacaping, both internally and externally.
In the period of government that the king of Gowa-9 is, brought the kingdom of Gowa into a maritime empire that did a lot of trade relations with several kingdoms in the archipelago, and even some nations of the world empire. Although the king of Gowa as carriers of victory, the king of Gowa who Masyur throughout the archipelago is the king of Gowa who the 16 are named I Mallombassi Daeng Muhammad Baqir Karaeng Mattawang Bontomangngape 'Sultan Hasanuddin (1653-1669). Gowa area as a former district government center in the past very relevans with the nickname of Gowa district currently known as the historic district of Gowa. The concept of local government district of Gowa who refers to the historical background of the area is also not free of norms and cultural values ​​of society. Therefore, the government in Gowa district continues to maintain cultural traditions and customs, including traditional arts culture that are considered as characteristic of cultural identity and ethnic communities Gowa Makassar.
Pakacaping traditional music is a kind of traditional music that spread across ethnic groups in South Sulawesi. Musical tradition comes from the same ancestor, namely from Makassar, Bugis sailors. Although the music is derived from a common ancestor, but have had differences and ethnic distinctiveness in accordance with the have it now.
Traditional music pakacaping
is a form of vocal, instrumental music performances since the show in addition to using the musical instrument called the harp, also using a vocal or song called the Kelong. Etymologically, the traditional music of the harp player pakacaping interpreted as originating from two syllables, namely Pa means 'player' and kacaping word means 'instrument of the harp'. It literally means that the traditional musical instrument pakacaping is a game played harp by one person or more in pairs while akkelong (singing) by the precepts or the balibali (unrequited each song lyric). Pakacaping traditional music genre that existed at the time this is a form of development than before. In Makassar ethnic communities in Gowa district, traditional music is viewed has been progressing. According to aspects of internal development, traditional music pakacaping developed in terms of the following: First, the development according to the instrument. The shape and name of instrument
lute (kacaping) known at present is the result of the development of an instrument previously called kanjilo who does not have grip. Second, the development of the system scales. The development of lute instruments into six grip automatically affect the tone of it evokes so lute instruments that were previously only able to reach the five tones. Third, the development of lyric songs according to the language. Lute players in Gowa district initially using only one language in the chant or poem expressing his song, which only use the language of Makassar, but at this moment songs harp players there have been mixed or combined with the Indonesian language. Fourth, the development by type of lyric song lyric song. In accordance with the data obtained in the field that the current traditional music lyric pakacaping has reached about 21 types of lyric song. Pakacaping traditional music in addition to internally developed, also evolved in terms of its external aspect. Development externally, in this study in terms of traditional musical functions based pakacaping
context of the show. At first traditional music
pakacaping only serves as a personal entertainment without the need of the audience (the audience) as a connoisseur. Pakacaping Traditional Music is one kind of traditional music found in the ethnic community Gowa Makassar in South Sulawesi. This tradition of music genres ever presented by the people of Gowa in different contexts ceremonial party or other parties concerning the ceremony the party crowd. The presence of traditional music in various contexts is a sign which indicates that the existence of this music can take place, particularly in ethnic communities in Gowa Makassar. Interest of the community of traditional music pakacaping closely related to its dynamic and growing at any time. Therefore, in this study of traditional music has been progressing pakacaping viewed both internally and externally. Pakacaping traditional music in Gowa Makassar ethnic community in this time not only as music played for personal entertainment in the context of filling free time, but this music already has a dual function because in addition to serve as the musical entertainment are also used as an additional source of livelihood by the lute player.

from http://eprints.ums.ac.id/697/1/2._AMIR_R.pdf