Dance in Indonesia (Indonesian: Tarian Indonesia) reflects the country's diversity of ethnicities and cultures. There are more than 1,300 ethnic groups in Indonesia.[1]Austronesian roots and Melanesian tribal forms are visible, and influences ranging from neighboring Asian and even western styles through colonization. Each ethnic group has its own dances: there are more than 3,000 original dance forms in Indonesia. The old traditions of dance and drama are being preserved in the many dance schools which flourish not only in the courts but also in the modern, government-run or supervised art academies.[2]
For classification purposes, the dances of Indonesia can be divided according to several aspects. In the historical aspect it can be divided into three eras; the prehistoric-tribal era, the Hindu-Buddhist era, and the era of Islam. According to its patrons, it can be divided into two genres; court dance and folk dance. In its tradition, Indonesian dances can be divided into two types; traditional dance and contemporary dance.
Prior to their contact with the outer world the people of the Indonesian archipelago had already developed their own styles of dancing, still somewhat preserved by those who resist outside influences and choose tribal life in the interior of Sumatra (example: Batak, Nias, Mentawai), of Kalimantan/Borneo (example: Dayak, Punan, Iban), of Java (example: Baduy), of Sulawesi (example: Toraja, Minahasa), of the Moluccan Islands and of Papua (example: Dani, Amungme).
Dances in Indonesia are believed by many scholars to have had their beginning in rituals and religious worship.[2] Such dances are usually based on rituals, like the war dances, the dance of witch doctors, and dance to call for rain or any agricultural related rituals such as Hudoq dance ritual of Dayak people. War dances such as cakalele of Maluku and kabasaran dance of Minahasa, North Sulawesi. Others are inspired by nature, such as the Tari Merak (Peafowl dance) of West Java. Ancient forms are usually characterized by repetitive movements like the Tor-Tor dance of the Batak people of (North Sumatra). The dancing also is meant to let the human's inner spirit come out, and also to calm or appease the spirits. Some of the tribal dances involving trance mental condition which interpreted as channeling the spirits through the dancer's body movements. Tari Sanghyang Dedari is a special dance of Bali, in which the dancers are pre-pubescent girls in trance, chasing away bad spirits. The dance of kuda lumping and keris dance also involve trance.
With the advent of Dharmic religions in Indonesia, Hinduism and Buddhism were celebrated in ritual and in art. Although the poem originates in India, Ramayana and Mahabharata epic has long been adopted by the Javanese people. Etchings of the story can be found on temples dating back to the tenth century CE, and has since then played a recurring role in ancient Javanese literature as well as wayang shows.[5]
They incorporated stories of the Ramayana, Mahabharata and also Panji cycles into dance-drama, which is called sendratari (dance-drama) or sometimes simply translated as "ballet", such as Ramayana Ballet of Java and Bali. Highly stylized methods of dances were developed and are still obvious nowadays, especially in the islands of Java and Bali. The Javanese Ramayana dance-drama is regularly staged and performed in ninth century Prambanan temple compound, Yogyakarta; while its Balinese counterpart is also performed in various Balinese temples throughout the island. The Javanese wayang wong dance-drama took stories from the episodes of Ramayana or Mahabharata Hindu epic. However, the dances are distinct to those of Indian. While hand gestures are still very important, Indonesian dancers do not have the Indian attention to mudra: instead the dances incorporated local forms. Javanese court dances stressed on graceful and slow movements while the dances of Balinese court are more dynamic and very expressive. The Javanese sacred ritual dance of Bedhaya has very gentle and elegant moves.[5] It is believed to have its root in 14th century Majapahit court or probably earlier, which originated as ritual dance performed by virgins to worship Indic deities such as Shiva, Brahma, and Vishnu.
In Bali, dances has become the integral part of Hindu Balinese rituals. Experts believed that balinese dance derived from older dance tradition of Java. Friezes on East Javanese temples built during the 14th century show headdresses almost identical to those still being used for dances in Bali today. These represent a remarkable unbroken continuity of form at least 600 years old. Certain sacred dances are reserved and only performed during certain religious ceremony. Each Balinese dances have special functions, from sacred ritual dances performed only in Balinese temples such as sacred sanghyang dedari and Barong dance that involved trance, dance drama that retold the legends and popular stories such as legong and kecak, to the dance for welcoming guests such as pendet or social youth dance such as joged. The topeng dance also popular in Java and Bali, it often took story from Panji tales, originated from 12th century Kediri kingdom. The notable topeng dances are topeng Cirebon dance, Sundanese topeng Priangan dance and topeng Bali dance. The Panji tales, telling the romance between Prince Panji Inu of the ancient Javanese kingdom of Jenggala with Princess Galuh Chandra Kirana of the neighboring kingdom of Kediri, continues to be a source of inspiration in both Javanese and Balinese dance traditions.[6]
The Islamic Era
Ratoh Duek dance performance from Aceh
Even as the new religion of Islam gradually penetrated the region, the native and dharmic dances continued to be popular. Artists and performers would still use the styles of the previous eras, making changes in stories (which took an Islamic turn) and clothing (which became more modest in respect of Islamic teachings). This change is obvious in Tari Persembahan from Jambi. The dancers are still adorned with the intricate gold of the Hindu/Buddhist era but the clothing is more modest.
The new era brought newer styles of dance: Zapin dances of the Malay people and Acehnese Tari Saman adopted dance styles and musics typical of Arabia and Persia, and combined them with indigenous styles to form a newer generation of dance in the era of Islam. The adoption of Persian and Arab musical instruments, such as rebana, tambur, and gendang drums that has become the main instrument in Islamic dances, as well as chant that often quotes Islamic chants.
Contemporary dances
Known contemporary dancers from Indonesia was Bagong Kussudiardja, which invented contemporary dance form inspired by the Javanese classical dance.
Patrons
The court dances
Golek Ayun-ayun, a Javanese court dance of Yogyakarta
The dances in Indonesia reflects its diverse and long history. Several royal houses; the istanas and keratons still survived in some parts of Indonesia and become the haven of cultural conservation. The obvious difference between courtly dance and common folk dance traditions is the most evident in Javanese dance. Javanese stratified social class is reflected in its culture, where the upper noble class are more concentrated and deeply concern with refinement, spiritual and sophistication; while the commoners are usually more interested in entertainment and social value of the dance. As the result court dances are often have strict rules and disciplines preserved through generations, while folk dances are more liberated and open to any influences.
The royal patronage of arts and culture is often encouraged by the palace institution as the guardian of their traditions. For example, the Sultans of Yogyakarta Sultanate and Sunans of Surakarta, also nobles of Pakualaman and Mangkunegaran are known to create various Javanese court dances completed with gamelan composition to accompanied the dance. For example, the Suryo Sumirat dance school of Mangkunegaran court, opened its doors to public and foreign students eager to learn the royal Javanese dance. The mission is to not only produce new royal dancers but also, more importantly, to preserve ancient royal dance.[7]
The palace court traditions also evident in Balinese and Malay court which usually— just like Java—imposed refinement and prestige. Sumatran Malay courtly culture such as the remnant of Aceh Sultanate, Deli Sultanate in North Sumatra, and South Sumatra Sultanate, are more influenced by Islamic culture, while Java and Bali are more deeply rooted in their Hindu-Buddhist heritage. The Palembang dance of Gending Sriwijaya for example, still demonstrating the Hindu-Buddhist elements of gilded ornaments, but compared to its Javanese counterpart, it is rendered in more covered and modest costume of Aesan Gede.
The dance in Indonesia demonstrate the social complexity and the social stratifications of its people, it often reflect the social class and also degree of refinement. According to its patron, the folk dances were developed and fostered by common people, either in the villages or in the cities, in contrast of court dance that is developed through royal patronage. Indonesian folk dances are often relatively free from strict rules nor disciplines, although certain style of gestures, poses and movements are still preserved. The commoners folk dance is more concerned with social function and entertainment value than rituals.
The Javanese Ronggeng and SundaneseJaipongan is the fine example of this common folk dance traditions. Both are social dances that are more for entertainment purpose than rituals. It often display movements that are considered inappropriate in refined courtly dances, as the result, the common folk dances were often mistakenly deemed too erotic or even too crude for court standard. However this traditions is alive and well in contemporary Indonesia since it is popular and supported by its people. Certain traditional folk dances has been developed into mass dance with simple but structurized steps and movements, such as Poco-poco dance from Minahasa North Sulawesi, and Sajojo dance from Papua.
Traditions
Balinese temple dancer performing Sekar Jepun dance
The traditional dance
Traditional dance of Indonesia reflect the rich diversity of Indonesian people. The dance traditions in Indonesia; such as Balinese, Javanese, Sundanese, Minangkabau, Palembang, Malay, Aceh and many other dances traditions are age old traditions, yet also a living and dynamic traditions. Certain traditional dances might be centuries old, while some others might have been created less than a decade ago. The creation of a new dance choreography but still within the frame of respected dance tradition and discipline is still possible. As the result, there is some kreasi baru (newly created) dances. The newly created dance could be the rediscovery and the revival of lost old traditions or a new interpretation, inspiration and exploration of traditional dances.
The Art Schools in Indonesia such as Sekolah Tinggi Seni Indonesia (STSI) in Bandung, Institut Kesenian Jakarta (IKJ) in Jakarta, Institut Seni Indonesia (ISI/Indonesian Art Institute) in Denpasar, Yogyakarta, and Surakarta all are fostering and encouraging their student to explore the dance traditions in Indonesia. Certain festival such as Bali Art Festival also known as the distinguished event for Balinese traditional dance choreographers to showcase their Balinese kreasi baru dances.
The contemporary dance
Indonesian contemporary dance involved in a play performance.
Indonesian contemporary dance borrows influences from abroad, such as western ballet and modern dance. In 1954, two artists from Yogyakarta — Bagong Kusudiarjo and Wisnuwardhana — journeyed to the United States to study ballet and modern dance with a number of dance companies. When they returned to Indonesia in 1959 they brought with them a new artistic culture, which changed the face of movement and choreography and introduced the idea of individual expression to Indonesian dance.[8] The idea of dance as individual expression and artistic exploration rejuvenate the tradition-based dance discipline of traditional Indonesia, through exposure to artists from a wide range of cultural and artistic backgrounds. Native traditional dance traditions often influenced the contemporary dance in Indonesia, such as traditional Javanese dance form, pose and poise often took place in contemporary dances performances.
International dance collaborations also possible and often took place, such as the collaboration of NohJapanese dance with Balinese and Javanese dance theatre. Another example is the collaboration of two dance traditions, between Indonesian Balinese Legong dance and Indian Bharata Natyam. Legong and Bharata Natyam's similarities extend to more than its roots or spirituality. Both are joyful celebrations of life and a shared classical heritage of culture and dance.[9]
Indonesian modern dance also showcased in Indonesian showbiz, such as the dance performance to accompany songs, music performances or entertainment. Today with rapid pop culture influences from abroad, especially United States, urban teen dances such as street dances also gain popularity among Indonesian youngsters.
Gamelan is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones and a set of hand-drums called kendang, which keep the beat. The kemanak, a banana-shaped idiophone, and the gangsa, another metallophone, are also commonly used gamelan instruments on Bali. Other notable instruments include xylophones, bamboo flutes, a bowed string instrument called a rebab, and a zither-like instrument called a siter, used in Javanese gamelan. Additionally, vocalists may be featured, being referred to as sindhen for females or gerong for males.
As it is a country with many different tribes and ethnic groups, the music of Indonesia itself is also very diverse, coming in hundreds of different forms and styles. Every region has its own culture and art, and as a result traditional music from area to area also uniquely differs from one another. For example, each traditional music are often accompanied by their very own dance and theatre. Contemporary music scene have also been heavily shaped by various foreign influences, such as America, Britain, Japan, Korea, and India.
Wayang, also known as wajang, is a traditional form of puppet theatre play originating from the Indonesian island of Java. Wayang refers to the entire dramatic show. Sometimes the leather puppet itself is referred to as wayang. Performances of wayang puppet theatre are accompanied by a gamelan orchestra in Java, and by gender wayang in Bali. The dramatic stories depict mythologies, such as episodes from the Hindu epics the Ramayana and the Mahabharata, as well as local adaptations of cultural legends. Traditionally, a wayang is played out in a ritualized midnight-to-dawn show by a dalang, an artist and spiritual leader; people watch the show from both sides of the screen.
The culture of Indonesia has been shaped by long interaction between original indigenous customs and multiple foreign influences. Indonesia is centrally-located along ancient trading routes between the Far East, South Asia and the Middle East, resulting in many cultural practices being strongly influenced by a multitude of religions, including Buddhism, Christianity, Confucianism, Hinduism, and Islam, all strong in the major trading cities. The result is a complex cultural mixture, often different from the original indigenous cultures.
Cirebon is a port city on the northern coast of the Indonesian island of Java. It is the only coastal city of West Java, located about 40 km west of the provincial border with Central Java, approximately 297 km (185 mi) east of Jakarta, at 6°43′S108°34′E. It had a population of 296,389 at the 2010 census and 333,303 at the 2020 census; the official estimate as at mid 2022 was 341,235.
The Sunda or Sundanese are an indigenous ethnic group native to the western region of Java island in Indonesia, primarily West Java. They number approximately 42 million and form Indonesia's second most populous ethnic group. They speak the Sundanese language, which is part of the Austronesian languages.
Hinduism is the third-largest religion in Indonesia, based on civil registration data in 2022 from Ministry of Home Affairs, is practised by about 1.69% of the total population, and almost 87% of the population in Bali. Hinduism was the dominant religion in the country before the arrival of Islam and is one of the six official religions of Indonesia today. Hinduism came to Indonesia in the 1st-century through Indian traders, sailors, scholars and priests. A syncretic fusion of pre-existing Javanese folk religion, culture and Hindu ideas, that from the 6th-century also synthesized Buddhist ideas as well, evolved as the Indonesian version of Hinduism. These ideas continued to develop during the Srivijaya and Majapahit empires. About 1400 CE, these kingdoms were introduced to Islam from coast-based Muslim traders, and thereafter Hinduism, which was previously the dominant religion in the region, mostly vanished from many of the islands of Indonesia.
Topeng is a dramatic form of Indonesian dance in which one or more mask-wearing ornately costumed performers interpret traditional narratives concerning fabled kings, heroes, and myths, accompanied by gamelan or other traditional music instruments. Topeng dance is a typical Indonesian dance that can be found in various regions of Indonesia. Topeng dance has the main characteristic that the dancers use masks to cover their faces. The dance will usually be performed by one dancer or a group of dancers.
Betawi people or Batavians, are an Austronesian ethnic group native to the city of Jakarta and its immediate outskirts, as such often described as the native inhabitants of the city. They are the descendants of the people who inhabited Batavia from the 17th century onwards.
Wayang wong, also known as wayang orang, is a type of classical Javanese and Balinese dance theatrical performance with themes taken from episodes of the Ramayāna or Mahabharāta. Performances are stylised, reflecting Javanese court culture:
Wayang wong dance drama in the central Javanese Kraton of Yogyakarta represents the epitome of Javanese aesthetic unity. It is total theatre involving dance, drama, music, visual arts, language, and literature. A highly cultured sense of formality permeates every aspect of its presentation.
Balinese dance is an ancient dance tradition that is part of the religious and artistic expression among the Balinese people of Bali island, Indonesia. Balinese dance is dynamic, angular, and intensely expressive. Balinese dancers express the stories of dance-drama through bodily gestures including gestures of fingers, hands, head, and eyes.
Javanese dance is the dances and art forms that were created and influenced by Javanese culture in Indonesia. Javanese dance movement is controlled, deliberate and refined. Javanese art often displays a finesse, and at the same time a serene composure which is elevated far above everything mundane. Javanese dance is usually associated with courtly, refined and sophisticated culture of the Javanese kratons, such as the bedhaya and srimpi dance. However, in a wider sense, Javanese dance also includes the dances of Javanese commoners and villagers such as ronggeng, tayub, reog, and jaran kepang.
Hyang is a representation of the supreme being, in ancient Java and Bali mythology. The spiritual entity can be either considered divine or ancestral. The reverence for this spiritual entity can be found in the folk religions of Java and Bali, such as the Sunda Wiwitan, Kejawen, Kapitayan, and Gama Tirta. The realm where Hyang resides is called the Kahyangan, which is an Old Javanese term that means "the abode of Hyang", "part of Hyang", or "heaven".
Sembah is an Indonesian greeting and gesture of respect and reverence. While performing the sembah, one clasps their palms together solemnly in a prayer-like fashion called suhun or susuhun in Javanese; or menyusun jari sepuluh in Indonesian and Malay, placing them in front of their chest and moving the pressed palms up to their chin, or all the way up until their thumbs touch the tip of their nose, while bowing slightly. Any of these two forms are made depending on the status of the person greeted.
The national costume of Indonesia is the national attire that represents the Republic of Indonesia. It is derived from Indonesian culture and Indonesian traditional textile traditions. Today the most widely recognized Indonesian national attires include batik and kebaya, although originally those attires mainly belong within the island of Java and Bali, most prominently within Javanese, Sundanese and Balinese culture. Since Java has been the political and population center of Indonesia, folk attire from the island has become elevated into national status.
Sundanese dances is a dance tradition that is a part of ritual, artistic expression as well as entertainment and social conduct among the Sundanese people of West Java and Banten, Indonesia. Sundanese dance is usually cheerful, dynamic and expressive, with flowing movements in-sync with the beat of kendang accompanied with Gamelan degung music ensemble.
It is quite difficult to define Indonesian art, since the country is immensely diverse. The sprawling archipelago nation consists of 17.000 islands. Around 922 of those permanently inhabited, by over 1,300 ethnic groups, which speak more than 700 living languages.
Indonesian theatre is a type of art in the form of drama performances that are staged on a stage, with a distinct Indonesian nuance or background. In general, theatre is an art that emphasizes the performing arts that are displayed in front of a large crowd. In other words, theater is a form of visualisation of a drama that is staged on the stage and watched by the audience. Indonesian theatre includes the performing arts of traditional theater and modern theatre located in the territory of Indonesia. Some examples of Indonesian theater are Arja, Wayang, Wayang wong, Lenong, Ludruk, Janger, Randai and others. Theatre in Indonesia can also be referred to as regional or ethnic theatre, because it originates and develops from 1,300 ethnic cultures in Indonesia.
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