Cendrawasih Dance, Bird Dance From Bali

Cendrawasih dance name is taken from a name of one of the rare birds found in the mountains of Irian Jaya namely birds of paradise. In Babad Bali the definition of Cendrawasih Dance is the life of Cendrawasih birds in the mountains of Irian Jaya in the lust. This dance was created in 1988 by a fashion stylist named N.L.N. Swasthi Wijaya Bandem.



Cendrawasih Dance is a paired dance. This dance is danced by 2 or more dancers. The majority of these dancers are a woman. The basic motion of cendrawasih dance follows the basic footing of Balinese dance movements, but in some poses, this dance movement has been developed according to the interpreter of the stylist.



This dance movement was developed to find the form of motion of the dance in accordance with the theme of cendrawasih dance. The theme of this dance is pantomime, which can mean mimicking movement. The movement shown in this dance is the story of a pair of birds of paradise in doing a relationship of romance.



Clothing and property worn by the dancers are also very unique, namely bright yellow and wrapped in wide cloth such as scarves. This dress is very supportive of the movement of cendrawasih dance which is identical with the wings of birds of paradise.



In 1920 a Balinese artist I Gede Manik first introduced Cendrawasih dance in a performance in a Buleleng area of Bali. Along with the development of the times, this dance then gets a modern twist, both in the movement and the costumes were worn by the dancers in 1988 by N.L.N Wijaya Bandem.



Apparently, this refinement is getting fresh air for art lovers in Indonesia. Proven until now the uniqueness of this paradise dance is still an icon for the state of Indonesia in promoting the richness of culture to the world community.

Pakarena Dance, Traditional Dance From South Sulawesi

Pakarena dance is a traditional dance from South Sulawesi. This dance is accompanied by two drum heads or gandrang and also a pair of instrument tools such as flute which is often called the poems. In addition to dance pakarena apparently, there are other types of dance pakarena others from the Selayar Islands. Dance pakarena this is known as dance pakarena gantarang. Called Pakarena gantarang dance because of this typical dance of Sulawesi originated from the village that had once been the center of the kingdom on Selayar Island, the Gantarang Lalang Bata. Dance pakarena this gantarang danced by four female dancers. This dance first appeared in the 17th century, precisely in the year 1903 that is when Panali Patta King was inaugurated as King in Gantarang Lalang Bata.



However, there is no specific and clear data in the mention since when this expert dance appeared and who created it. However, local people believe that Pakarena Gantarang Dance has a link with the emergence of Tumanurung. In the belief of the local community, Tumanurung is an angel who descended from the sky. This tumanurung is in charge of providing guidance to humans on earth.



This clue is a symbol of movement. Furthermore, these movements are known as Pakarena Gantarang Dance. Munasih Nadjamuddin is one of the Pakarena Makassar Dance players who also stated the same thing. The dancers are often called with Mama Muni is told that Pakarena Dance begins a story about the parting between the inhabitants of botting the sky or the residents of heaven with the residents of lino or earth. Before parting, botting the sky first teaches about the way of life, such as how to hunt and how to grow crops to the residents of lino. This method is taught through hand, foot, and body movements. This movement is then believed to be a ritual dance of thanksgiving by the inhabitants of the earth to the inhabitants of the heavens. Therefore, it is not surprising that the movement in this traditional dance is so artistic, meaningful, subtle, and also difficult to distinguish from one another.



In a dance performance Pakarena, this dance is played in 12 parts. Each movement has its own meaning and philosophy. The sitting position represents the beginning and ending sign of this dance. A rotating motion that follows the clockwise direction represents a continuous cycle of human life. While in the up and down movement, symbolizes a rhythm of life that is always never smooth. There is always a time when someone is under and above.



In Pakarena's dance rules, these dancers can not open their eyes wide. In addition, the movement of the foot is not allowed too high. This rule applies until this dance is finished. In one dance performance Pakarena, it will take about 2 hours. Pakarena Gantarang dance is always accompanied by musical instruments such as kannong-kannong, gong, drum, buttons, and pui-pui. Meanwhile, the dancers wore costumes in the form of Pahang clothes, liba sabe, and also wearing typical Selayar jewelry. This pahang dress is a typical hand-woven from South Sulawesi. While the lipa sabe is a silk sarong typical of South Sulawesi.



The dancers Pakarena is required by a woman because basically, this traditional dance reflects a character of Gowa women who are polite, gentle, loyal, and also obedient. The dancers complement the beauty of the movement in brightly colored costumes, such as red, green, yellow and also white. To complete this dance, the dancers also carry a large fan. In addition, other accessories that are often worn include bracelets, necklaces, and also bun.

War Dance, Traditional Dance From West Papua

War Dance is a traditional dance originating from West Papua. This dance symbolizes a heroism and valor of the Papuan people. This dance is generally performed by mountain communities and was held when the chieftain ordered to fight, because the dance was able to inflame the spirit in the war.



Papua is one of the provinces in Indonesia that has the most diversity of customs, tribes, and cultures. From the results of data collection conducted by the team formed by the head of the Department of Culture and the Province of Papua and after the selection and determined through a seminar involving religious figures, women leaders, indigenous figures, youth leaders and community leaders representing the 7 customary territories of Mamta Indigenous Territory, Bomberai, Saireri Traditional Territory, Domberai Traditional Territory, La-Pago Adat Area, Ha-Anim Custom Territory, Mi-Pago Custom Territory, were 248 tribes. The determination of this 248 amount is the data of temporary and recent information.



From this diversity of numbers we can imagine how rich the sources of research are for humanists, anthropologists, artists, etc. In the world of performing arts, the development of dance in Indonesia is closely related to the development of society. James R. Brandon in 1967 divides the development of performances in Southeast Asia can be divided into 4 periods namely: Pre-history period, around 2500SM to 100M. The period of entry of Indian culture, 100 to 1000. The period of entry of the influence of Islam, 1300 to 1750. The period of entry of the western country, 1750 until the end of World War II.



If viewed from the aspect of cultural anthropology in Papua, as well as analysis of the development of dance art in Southeast Asia, War Dance from West Papua this leads to the art of performances of the prehistoric period. The people of Papua, until now still maintain and preserve this dance of War as a form of homage to the ancestors and dignity of a nation or tribe. It shows that the development of society and art is not a development that is cut off from one another, but they are mutually sustainable. They believe that since the ancestors of the Papuan people have always hoped that the culture that has been passed on to every generation does not fade and not drown and not buried by the various developments of the increasingly growing days. Just as with the culture of the dances they have created with various waves of distress, trouble, and unrest are not as quickly forgotten by the next generation.



Many writings or records that tell of pre-historic tribal warfare in Papua, such as Velabhea war dance, a dance that tells the tribal war in Sentani. Papuans use a war dance to give a spiritual boost in the face of a war. But with the development of the era and government regulations that strictly prohibit the war between tribes, this dance then only a dance greeter invited guests.



This Papuan war dance belongs to a group dance, or may even be a colossal dance. Because there is no limit on the number of dancers. As in general dance in Papua, this war dance is also diringi tifa and other musical instruments, which distinguish this dance with other papua dance is a rebound of the songs of the spirit of war. By wearing traditional clothing, such as skirts made of roots, chestnut beads, and the leaves are inserted on the body to be a testament to the love of the people of Papua