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Traditionally, sacred dances can only be performed in temples. However, new choreographies have been created due to the demand from tourists. One example, Tari Sekar Jagat (Tari means dance in the Balinese language), is a relatively new choreography that has become popular. In the newer creations, choreographers have more freedom over the moves.
Bambangan Cakil (from Javanese ꧋ꦧꦩ꧀ꦧꦔꦤ꧀ꦕꦏꦶꦭ꧀) is a classical dance-drama [1] of Central Javanese people in—particularly—Central Java, Indonesia. [2]
Javanese dance (Indonesian: Tarian Jawa; Javanese: ꧋ꦠꦫꦶꦗꦮ, romanized: Beksan Jawa) is the dances and art forms that were created and influenced by Javanese culture in Indonesia. Javanese dance movement is controlled, deliberate, and refined.
Wayang golek (wooden puppet) performance, Indonesia The history of the wayang golek began in the 17th century. Initially, the wayang golek art emerged and was born on the north coast of the island of Java, especially in Cirebon, the wayang used is the wayang cepak in the form of a papak or flat head.
Kuda Lumping is the most common name in West Java, in Central Java it is known as Jaran Kepang or Jathilan in East Java, while in Bali, it is known as Sang Hyang Jaran. [2] In Balinese Sanghyang dance refer to the type of dance involving trance by spirit identified as hyang .
Gandrung dance performance in Balinese manuscripts. A collection of the University of Leiden, Netherlands. Gandrung derives its name from the Javanese word for "love". [1] It is theorized that the dance originated as a ritual dance to express the people's affection for the rice goddess Dewi Sri, [4] with trance and as a kind of fertility dance. [5]
Janger (Balinese: ᬚᬗᬾᬃ) is a traditional Balinese and Osing dance drama performance originated from the Indonesian island of Bali, [1] and commonly performed by Balinese in Bali as well as Osing people in the easternmost region of Java. The term roughly translates to '"infatuation," with a connotation of someone who is madly in love" [2]:97
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]