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The authoritative statute regarding this subject is the 1960 Agrarian Basic Law Act (Undang-Undang No. 5/1960 tentang Peraturan Dasar Pokok-pokok Agraria) or simply the Agrarian Act. Its purpose was to unify the already-existing colonial and various adat rules on land and land use, and transform them into a national land reform framework for a ...
The Srimpi (Javanese: ꦱꦿꦶꦩ꧀ꦥꦶ, romanized: Srimpi) (also written as Serimpi) is a ritualised dance of Java, Indonesia, associated with the royal palaces of Yogyakarta and Surakarta.
Lengger dancer with gamelan instrument. This dance is performed by 2 dancers, a man and a woman in pairs. Typical of male dancers wearing topeng and typical of female dancers wearing traditional clothes and dressed like ancient Javanese princesses using a kemben and selendang ().
Gambyong (Javanese: ꦒꦩ꧀ꦧꦾꦺꦴꦁ) is a traditional Javanese dance originating from Surakarta, Central Java, Indonesia.It has existed since ancient times, and began to be displayed at the Mangkunegaran Palace in the era of 1916 to 1944.
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.
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 ...
Country: Indonesia: Reference: 00617: Region: Asia and the Pacific: Inscription history; Inscription: 2015 (10th session) List: Representative: Wali Sacred Dances (Rejang, Sanghyang Dedari, Baris Upacara), Bebali Semi sacred Dances (Topeng Sidhakarya/Topeng Pajegan, Gambuh dance drama, Wayang Wong dance drama), Balih-balihan Entertainment Dances (Legong Kraton, Joged Bumbung, Barong Ket)
Traditional Balinese dances are sacral in nature, thus unsuited for secular performances. That these dances were used for welcoming non-Balinese, and in non-sacral contexts, was a point of controversy in the late 1960s. [1]