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Papuan tumbu tanah 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 ...
Piring dance (Minangkabau: Piriang; Jawi: تاري ڤيريڠ) is a traditional Minangkabau plate dance originated and performed in West Sumatra, Indonesia.It is also performed in Negeri Sembilan, Malaysia.
Cirebonese mask dance (Indonesian: Tari Topeng Cirebon; Cirebonese: beksan topéng Cerbon) is a local indigenous art form of Cirebon in Java, including Indramayu and Jatibarang, West Java and Brebes, Central Java. It is called mask dance because the dancers use masks when dancing.
Saman (or the dance of a thousand hands) is one of the most popular dances in Indonesia. Its origin is from the Gayo ethnic group from Gayo Lues, Aceh province, Indonesia, and is normally performed to celebrate important occasions. [1] The dance is characterized by its fast-paced rhythm and common harmony between dancers.
Minangkabau people wearing traditional dress and serving Kabaka rice with Rumah adat background. Minangkabau culture is the culture of the Minangkabau ethnic group in Indonesia, part of the Indonesian culture. This culture is one of the two major cultures in the Indonesian archipelago which is very prominent and influential.
The Lilin dance (from Minangkabau lilin 'candle') is a traditional Indonesian (Minangkabau) dance performed by a group of dancers to the accompaniment of a group of musicians.
The cendrawasih dance is often performed outside of Indonesia when promoting Indonesian culture, such as in Peru in 2002, [6] at the Freer Gallery of Art in Washington, D.C., in 2008, [4] Japan in 2008, [7] and the Netherlands in 2008. [8]
Condong (Balinese: ᬘᭀᬦ᭄ᬤᭀᬂ) is a Balinese dance which is often performed as a preface to legong and accompanied by the semar pangulingan style of gamelan.The term also refers to a stock character, a quintessential representation of the maidservant, found in the condong dance as well as the legong, gambuh, and arja dances.