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.
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.
Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A talented puppeteer can make the figures appear to walk, dance, fight, nod and laugh.
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.
A candi is a Hindu or Buddhist temple in Indonesia, mostly built during the Zaman Hindu-Buddha or "Hindu-Buddhist period" between circa the 4th and 15th centuries.
The Kertha Gosa Pavilion is an example of Balinese architecture located on the island of Bali, in city Klungkung, Indonesia. The Kertha Gosa Pavilion at Klungkung Palace was built in the 17th century or early 18th century by Dewa Agung Jambe I.
Wayang golek is one of the traditional Sundanese puppet arts from West Java, Indonesia. In contrast to the wayang art in other areas of Java island that use leather in the production of wayang, wayang golek is a wayang art made of wood. Wayang golek is very popular in West Java, especially in the Pasundan land area. Today, wayang golek has become an important part of Sundanese culture.
In Javanese wayang, the panakawan or panakavan (phanakavhan) are the clown servants of the hero. There are four of them – Semar, Petruk, Gareng and Bagong. Semar is the personification of a deity, sometimes said to be the dhanyang or guardian spirit of the island of Java. In Javanese mythology, deities can only manifest themselves as ugly or otherwise unprepossessing humans, and so Semar is always portrayed as short and fat with a pug nose and a dangling hernia.
Semar is a character in Javanese mythology who frequently appears in wayang shadow plays. He is one of the punokawan (clowns) but is divine and very wise. He is the dhanyang of Java, and is regarded by some as the most sacred figure of the wayang set. He is said to be the god Sang Hyang Ismaya in human form.
The Panji tales are a cycle of Javanese stories, centred around the legendary prince of the same name from East Java, Indonesia. Along with the Ramayana and Mahabharata, the tales are the basis of various poems, sculpture and painting, dance-drama performances and genres of wayang, especially the one known in East and Central Java as wayang gedhog. Panji tales have been the inspiration of Indonesian traditional dances, most notably the topeng (mask) dances of Cirebon, Central Java and Malang, as well as gambuh dance-drama in Bali. Especially in the environs of Kediri, part of the probable homeland of the tales of Panji, local stories grew and were connected with the obscure legendary figure of Totok Kerot. Panji tales have spread from East Java (Indonesia) to be a fertile source for literature and drama throughout Indochina Peninsula and Malay World as well.
The Klungkung Palace, officially Puri Agung Semarapura, is a historical building complex situated in Semarapura, the capital of the Klungkung Regency (kabupaten) on Bali, Indonesia.
The Puri Lukisan Ratna Wartha Museum is the oldest art museum in Bali which specialize in modern traditional Balinese paintings and wood carvings. The museum is located in Ubud, Bali, Indonesia. It is home to the finest collection of modern traditional Balinese painting and wood carving on the island, spanning from the pre-Independence war (1930–1945) to the post-Independence war era. The collection includes important examples of all of the artistic styles in Bali including the Sanur, Batuan, Ubud, Young Artist and Keliki schools.
Kamasan is a village on Bali, Indonesia. It is reknown for a style of painting named after it and has a cultural importance on a Bali-wide level.
Wayang kulit is a traditional form of shadow puppetry originally found in the cultures of Java and Bali in Indonesia. In a wayang kulit performance, the puppet figures are rear-projected on a taut linen screen with a coconut oil light. The dalang manipulates carved leather figures between the lamp and the screen to bring the shadows to life. The narratives of wayang kulit often have to do with the major theme of good vs. evil.
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.
The gunungan, also known as kayon or kayonan in Bali, is a figure in the Indonesian theatrical performance of wayang e.g. wayang kulit, wayang klitik, wayang golek, and wayang beber.
Indonesian numismatic charms, also known as Indonesian magic coins, are a family of coin-like objects based on a similar Chinese family of coin charms, amulets, and talismans but evolved independently from them. Indonesian numismatic charms tend to have been influenced a lot by Hinduism, Islam, and the native culture and often depict religious imagery from Hinduism for this reason. The "magic coins" and temple coins from Indonesia are largely based on the Chinese cash coins introduced to the region during the Tang dynasty era in China, and during the local Majapahit era they began circulating in the region. Unlike with Chinese numismatic charms, the coin charms of Indonesia have not been as well documented both historically and in the modern era. A major modern day work about Indonesian numismatic charms in English is Joe Cribb's Magic coins of Java, Bali, and the Malay Peninsula which is a catalogue based on the collection of coin-shaped charms from the island Java acquired by Sir Thomas Stamford Raffles during his lifetime held in the British Museum, the book is further supplemented with data and information available from various other sources.
Indonesian painting has a very long tradition and history in Indonesian art, though because of the climatic conditions very few early examples survive, Indonesia is home to some of the oldest paintings in the world. The earliest Indonesian paintings were the rock paintings of prehistoric times, such as the petroglyphs found in places like in the caves in the district of Maros in Sulawesi, Indonesia. The Stone Age rock paintings found in Maros Cave are approximately 40,000 years old and are listed as one of the oldest paintings in the world.
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.
