Dance indonésienne

The expression dance indonésienne recovers two realities:

dance suitable for each ethnicities populating the republic of Indonesia,
dance which the citizens of the aforesaid the republic recognize like pertaining to the whole of the nation, and not with a given group.

This cleavage does not recut that between tradition and modernity, but is crossed by this last. Indeed, if one speaks for example about dance Sundanais E, this expression recovers the traditional dances as well, that they are country-women or of court, that current popular forms.

Moreover, a form suitable for a group can be adopted by other Indonésiens very well, in which case it becomes national.

The traditional forms are related to various circumstances:

Rite S related to the life of the village community in its relationship with the world around, in particular those which touch with the fertility of the ground, the harvests, protection against the catastrophes,
Cérémonie S marking the social life of the individual or the bonds between the members of the community, like the marriage and other stages of the life, or those of the community with the outside world, like the dances of welcome,
religious Cérémonies and ritual of magic,
Protocole of the royal and princely courses.

The modern forms concern the festive and entertaining field rather.

The ethnic distinctions are a reality. The majority of Indonésiens still have an origin " mono-ethnique" : Javanese, batak of Sumatra or moluquoise. Minahasa of the north of Célèbes will not be recognized in a dance Sunda is born from the west of Java.

However, abroad, the small communities indonésiennes which one finds in various countries (primarily constituted families of diplomats, students and couple indonésiens of nationals of these countries) will have in heart to continue like Indonésiens. This concern of arising to the outside world often appears by spectacles in which these communities present dances of various areas of Indonesia, carried out by of Indonésiens which are not necessarily originating in these areas. The dance comes here to support a national ideology, in which the dance, which it is Bali is born, Minangkabau of Sumatra or Daya of Kalimantan, is presented to the " autres" like " indonésienne".

The dances " nationales"

the Dangdut

Bali

It can appear arbitrary to separate Bali de Java. Indeed, the two traditions rest on the same elements, namely:

the shadow theater,
the orchestra Gamelan, even if the Balineses do not give him a name but indicate the whole by one of its parts, the gong,
the Indian epopees of the Mahabharata and the Ramayana, cycles of accounts of the time Hindu-Javanese.

Since at least Xe century, Bali had bonds with Java East. To the beginning of XVIe century, the Moslem kingdom of Demak subjects is of Java, except the principality of Blambangan, remained hindouist, who puts himself under the protection of the Balinese kings. In 1770, under the pressure of the Dutch, which want to withdraw Java Is with the Balinese influence, prince de Blambangan converts with Islam. Bali finds separate Java. The two cultures from now on will evolve/move separately.

Ritual dances

Panyembrama
Pendet

Dances of court

Baris
Giri Putri
Legong
Topeng Killed

Modern creations

Belibis (dance of ducks)
Kebyar Terompong
Tambulilingan

Célèbes

Bugis and Makassar

Bugis and Makassar live the province of Southern Sulawesi.

Pakarena : This dance of welcome was formerly also intended to present to the visitor the beauty Sarong S of silk of Makassar. Carried out by young girls, Pakarena is made slow and gracious movements, in an extraordinary contrast with the formidable bearing of the drums which accompany the dance.

Minahasa

Minahasa populate the Northern province of Sulawesi. As of the XVIIe century, they are subject to the influence European, initially Spanish and Portuguese, then Dutch. Part of their dances reflects this European influence.

Maengket : This dance is carried out by 10 to 20 couples, carried out by a singer and is accompanied by one or two drums. She is at the same time ritual, propitiatory and of celebration. She comprises 3 movements: " Makamberu " to thank God for having given good harvests, " Rumambak " to ask its blessing for a new house, and finally " Lalayaan ", intended to make meet girls and boys.

Kabasaran : The name means " grandeur". This warlike dance is carried out by men carrying of the caps decorated with feathers of bird, directed by a leader. Today, Kabasaran is given like dances of welcome.

Pisok : Pisok is the name of a local species of sparrow, regarded as crowned by Minahasa. This dance is carried out by an odd number girls.

Tumatenden : This dance tells the seven history (some say nine) pisok which go down on ground to bathe in the pond of a peasant. They remove their atours birds and prove to be beautiful young girls. The peasant hides clothing of young person and can thus capture it and marry it.

Lengso : The lengso is a handkerchief, formerly used by a boy to mean his love with girl. The dance is probably derived from the Lalayaan part of the Maengket dance.

Tempurung : This word means " cockle nut of coco". This dance expresses the satisfaction of the peasants after the harvest of the Copra. It is carried out by couples.

Katrili : Its name comes from French squares. Obviously of European origin, this dance was introduced by the Spaniards. It is carried out by couples. The leader orders in Spanish. The costumes point out those of the Flamenco.

Polineis : This name is a corruption of " Polonaise ". This dance was introudite by the Dutchmen. Very popular among the elderly, it is often carried out at the time of marriages and is followed of a Valse.

Java

Java is not ethniquement uniform. One speaks 4 languages on the island: in addition to the Javanese itself, spoken in the center and is, there is still the Betawi area of Jakarta, the sundanais west of the island and the madurais, originating in the island close to Madura but also spoken on the northern coast about Java East.

Moreover, the history of Java is made appearance and disappearance of many kingdoms. Some still exist through the traditions of the courses royal and princely of Cirebon, Surakarta and Yogyakarta.

Lastly, the areas of transition from an ethnic surface to another produced intermediate cultures, in particular those of Banyumas, which mark the passage of the country Sunda with Java Centers, and of Banyuwangi, influenced by the island close to Bali.

Banyuwangi

Located at the Eastern end of Java, the area of Banyuwangi is in particular the seat of the culture known as Osing. Osing, approximately 400.000, speak a Javanese dialect interfered Balinese. They are mainly Moslem, but some of them are hindouists. Their dances and their music are clearly marked by the two influences, of Java East and Bali.

Gandrung : This dance is carried out by a woman, accompanied simply by a Violon, of a kind of Triangle called kluncing , of a gong and a drum kendang . The gandrung is in particular danced at the time of festivals, the night to the paddle.

Janger or Damarwulan : This traditional theatrical form, different from the janger Balinese , developed at the XIXe century. It is a combination of traditions Balinese, Javanese and local. The Balinese influence in particular is seen in the costumes, which point out those of the arja (traditional opera) and the instruments. The Javanese influence is found in the lakon (arguments) and the language.

Betawi

Betawi are the inhabitants " autochtones" from Jakarta. The population betawi was constituted during the history of Batavia (from which it draws its name), starting from inhabitants of the country Sunda around, of the populations originating in other areas of the archipelago indonésien, Chinese and descendants of slaves originating in Ceylon. Traditional culture betawi watch in particular a strong Chinese influence.

Cirebon

Java Centers

As of at least VIIIe century after J.C., the fertile plains of the center of Java allow the rise of a prosperous agriculture which makes it possible to the lords of the area to build large religious monuments. A flourishing culture is born and flowers in the center of Java.

The Javanese tradition said that the dance appeared in VIIIe century in the kingdom of Mataram in the ritual ones and ceremonies. It would have been inspired by the movements of the figurines of the shadow theater Wayang kulit , from where its name of wayang Wong . Later, the dance would have evolved/moved in spectacle and entertainment. The wayang Wong would have then flowered under the reign of the kings Airlangga of Janggala (reign 1016-1045) and Hayam Wuruk of Majapahit (reign 1350-1389).

A dance was then carried out to celebrate the handing-over of a ground by the king with a man of influence to thank it for good and faithful services.

As of this time, the dance would have been distinguished in two types: dances of court and dances popular. There were professional dancers for the entertainment of the small people. In addition, the dance started to draw from the two great Indian epopees of the Mahabharata and the Ramayana to draw its arguments and its characters. Its epopees were translated into Javanese under Airlangga and its heirs the kings to Kediri. The orcheste Gamelan would then have started to accompany the dance.

Dances of court

One distinguishes 4 schools from dance of Javanese court:

Karaton Surakarta (royal palace)
Karaton Yogyakarta (royal palace)
Puro Mangkunagaran (“minor” court of Surakarta)
Puro Pakualaman (“minor” court of Yogyakarta).

There exist many kinds of dance of court, of which most known are:

the bedoyo : This crowned dance is carried out by nine young girls. Formerly, only could dance it of the princesses in a state of physical and mental purity. The bedoyo tells the meeting of Panembahan Senopati, first sovereign of Mataram, with Ratu Kidul, the all-powerful queen of the South Seas.
the srimpi : It is also a crowned dance, carried out by four young girls. Formerly, the srimpi was carried out under the Pendopo (open house) of the princely residences, which had four pillars in its central part, in addition to those of the periphery. The number four also evokes the four elements: air, water, fire and ground.

The wayang Wong

The word wayang indicates the Javanese shadow theater strictly speaking. It is thought that this spectacle was in the beginning a ritual related to the worship of the ancestors. The etymology of the word is the same one besides as that of the words " ombre" ( bayang ) and " ancêtre" ( moyang ).

Wong , in Javanese, wants to say " man, personne". The wayang Wong is the danced theater. The Javanese tradition makes go up the wayang in XIe century, at the time of the king Airlangga, under the reign of which (1016-1049) arts flowered. With died of Airlangga, the kingdom is divided between its two sons, giving the kingdoms of Janggala, with for king Lembu Amiluhur, and Kediri or Daha, with for king Lembu Amerdadu. Always according to the tradition, the son of Lembu Amiluhur, prince Panji Asmarabangun, would have created the wayang Wong . The goal of this new art was to tell the history of the kingdom of Janggala. The wayang Wong of Janggala would have become current the wayang topeng or dances masked ( topeng wants to say " masque". According to the tradition still, the wayang Wong would have continued to develop in the kingdom of Majapahit (XIVe-XVe century). According to the poem epic of the Nagarakertagama (written in 1365), the king Hayam Wuruk was a dancer.

What is certain, it is that the wayang Wong developed in the courses royal ( Kraton ) and princely ( will pura and dalem ) of Surakarta and Yogyakarta. Then it was popularized out of the courses.

One distinguishes various styles in the movements and the costumes from the wayang Wong . For the women, it only possible style is the style alus or " fin". For the men, one distinguishes:

Alus gracious, slow and elegant , exemplifié by the role of the prince Arjuna of the clan Pandawa (Pândava) in the epopee of the Mahabharata or Rāma in that of the Ramayana,
Gagah or " viril" , which is declined in its turn in:
1. sporting Kambeng , as for prince Bima, older brother of Arjuna, and his Gatotkaca son,
2. Bapang , even of character kasar or " grossier" , for the characters of the clan Korawa (Kaurava),
3. Kalang kinantang , lélange of alus and gagah , as for the role Kresna (Krishna),
Kasar for the giants and the monsters,
Gecul for the clowns ( punakawan ),
Kambeng dengklik for the monkey Hanoman (Hanuman) in Ramayana,
Kalang kinantang dengklik for the Sugriwa monkeys and Subali.

The lakon (accounts) of the wayang Wong are the same ones as those of the wayang kulit . ( Source: Joglo Semar )

Java Is

Sunda

Modern dances

The Jaipong was created in the years 1970 starting from a traditional kind, the ketuk tilu .

Kalimantan

Kalimantan is the name of the indonésienne part of the island of Borneo. One can distinguish two great groups in the population from the island: that commonly indicated by the term of Daya K , which indicates collectively different the ethnicities interior, and the Malais, which populate the littoral.

Moluques and islands of the east

Cakalele

Sumatra

Aceh

Saman
Seudati

Malayan surface

" is called; Malais" ( orang Melayu ) the populations whose language is the Malayan ( bahasa Melayu ). The Malayan ones populate the Eastern coast of Sumatra, the Malayan Péninsule, the south of Thailand, Singapore and the littoral of the island of Borneo.

Minangkabau

Minangkabau live the province indonésienne of Western Sumatra. They are known for their company Matrilinéaire.

The dance minangkabau is strongly marked by traditional martial art, the Silat.

Palembang

Palembang is the capital of the province of Southern Sumatra. On its site was, of VIIe in XIIIe century, powerful the city-State of Sriwijaya, which controlled the Détroit of Malacca and its sea traffic.

Gending Sriwijaya : The name of this dance of welcome means " melody of Sriwijaya". The dancers present to the visitors a box containing some sheets of Bétel, a piece of lime and a nut of Arec, offering traditional with the hosts of passage.

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