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This dance-drama performs for the religious function and also for the tourism.

For the religious purpose, it was performed to cleanse the village or re-balance the world based on the Balinese philosophy. This dance considers as a sacred performance that can be performed only inside the temple.

To demonstrate it, there are two main characters in the role, firstly is the mythical Barong. Secondly is the Rangda.

Keywords: Cultural identity, Ethnicity

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Elaboration (50 - 100 words) with attach the performance link.
Details can be
1. Function of the performance
2. How to perform
3. Concept & philosophy of the performance
4. Characters & story
5. Music
6. Any relevant points
7. Relevant keywords:

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This dance began to hold dance performance for traditional ceremonies and folk methods.

In Central Java society, this Gambyong dance is usually performed during weddings, circumcisions or other traditional ceremonies. this dance have gentle elements and show a picture of the behaviour of Javanese people who are full of politeness and gentleness.

In dancing the Gambyong dance, the dancers must wear traditional Javanese clothes. This dance costumes consits of a "kebaya" and "kemben" with open shoulder. Using a batik patterned cloth called "jarit" or "jarik" and also equipped with a scarf worn over the sholder as a complementary property.

Gambyong dance is performed with Javanese Gamelan accompanient. The Gamelan consits of a set of musical instrument including gong, kenong, and xylophone.

Keywords: Cultural identity, Representative

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Jaipong dance is performed during traditional events such as dance performances, cultural festivals and Sundanese cultural events.

Jaipongan  dance used by the community to mingle and also called the Sundanese Society dance. The characters dance namely purity, the humorist, the spirit, spontaneity in the pattern of the presentation of the dance.

The dance perform is by  using a hands, shoulders, and hips always been a dominant part in the pattern of the agile movement, accompanied by beating drums.

Keywords: Cultural identity, Multiculturalism

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The plate dance (Tari Piring) is a dance art dance which is owned by the Minangkabau people from West Sumatra. The dance depicts a sense of joy and gratitude Minangkabau society when the harvest season has arrived.

This dance is accompanied by the song that is played with talempong and Saluang, that where the movement is done quickly while holding the plate in the palm of their hand. Sometimes the plates are they throwing into the air or they slam to the ground and trampled on by the dancers are barefoot. this dance is done in pairs or groups with a fast movements and noise interspersed carried by dancers

Dance has become very popular dish even in neighboring countries like Malaysia are also often performed this dance because this dance is a movement that energetic, vibrant, attractive and dinamic.

Keywords : ethnicity, cultural identity

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The plate dance (Tari Piring) is a dance art dance which is owned by the Minangkabau people from West Sumatra. The dance depicts a sense of joy and gratitude Minangkabau society when the harvest season has arrived.

This dance is accompanied by the song that is played with talempong and Saluang, that where the movement is done quickly while holding the plate in the palm of their hand. Sometimes the plates are they throwing into the air or they slam to the ground and trampled on by the dancers are barefoot. this dance is done in pairs or groups with a fast movements and noise interspersed carried by dancers

Dance has become very popular dish even in neighboring countries like Malaysia are also often performed this dance because this dance is a movement that energetic, vibrant, attractive and dinamic.

Keywords : ethcnicity, cultural identity

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The main function of this dance is as a show dance. In this dance, the strength of a dancer will be shown in lifting a mask made in the shape of an animal's head, namely a tiger's head. The tiger head has been placed a crown made of peacock feathers and the weight of the mask is around 50 to 60 kilograms and measures 2 meters.

This dance will be accompanied by music in the form of pelog and salendro where it will produce a unique, mystical and exotic sound. Among the musical instruments used in this dance are kendang, angklung, kenong, gong, and selompret. This dance is often performed in weddings or gotong royong activities with the community.

Keywords: Cultural Identity, hereditary beliefs.

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The Srimpi is a ritualized dance of Java, Indonesia. It is associated with the royal palaces of Yogyakarta and Surakarta. The dance is one of the classical dance of Central Java.

The Srimpi dance symbolize as the elegance character of the royal Javanese court and the dance became a symbol of the ruler's power as well as the refinement of Javanese culture.

The Srimpi dance usually performed by four female dancers, however other numbers such as two, six or eight dancers is also possible, depends to the type of Srimpi being performed. Similarity in looks, height and body type among dancers is preferred to achieve better aesthetic.

Srimpi demonstrate soft and slow movements and a highly stylized hands positions, stances and body poses with graceful movement to describes modesty, refinement, beauty and grace. The dancer moves slowly accompanied with gamelan music.

Keywords: Cultural identity, Ethnicity

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Aizza husna binti Mohd azam (c18a0031)
Cendrawasih - Bali

A dance known as cendrawasih was designed by I Gde Manik and was first performed in the Sawan subdistrict of the Buleleng Regency in the 1920s; the area is the origin of numerous dances, including Trunajaya, Wirangjaya, and Palawakya. However, this version was significantly different from the dance that is now commonly performed.

Present-day performances of the cendrawasih dance originate from choreography by N. L. N. Swasthi Wijaya Bandem, who arranged for the first performance in 1988. The cendrawasih dance is inspired by the bird of paradise, which is known as burung cendrawasih in Indonesian and as manuk dewata ("the bird of the gods") in Balinese.This genus of bird is known to dance and sing when attempting to attract a mate. The cendrawasih dance is one of several Balinese dances inspired by birds others include the Manuk Rawa and Belibis dances.The dance is performed by two women,one portraying a male bird of paradise, and one portraying a female; the dance takes the form of a mating ritual.The dancers are dressed in Pandji-style headdresses with feathers stuck in them, as well as long flowing scarves or skirts with a pink stripe.The skirts serve as the colourful tails of the birds of paradise,and when held give the impression of wings. The fluttering of the skirts when running give an impression of flight.

Many of the movements are not present in other Balinese dance forms. For instance, dancers use their trailing costumes to symbolize the wings of the birds of paradise, and may stand en pointe.The two dancers flutter about, as if flirting.

Cenderawasih dance is also accompanied by a blend of Balinese gamelan music and several other traditional Balinese musical instruments, such as Pereret, Rindik, cengceng, and genggong. Each beat of the musical instrument will always be in line with the movements of the dancers of paradise. In addition, facial expressions, especially eye movements, become an integral part of the rhythm of the accompanying music.

*Keywords* : Cultural identity

https://youtu.be/_FN32heId3o

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Sekapur sirih dance is a traditional dance that comes from Jambi, Indonesia. This dance belongs to the type of welcome dance that is usually danced by female dancers. This Sekapur Sirih dance is used as a welcome dance to welcome the distinguished guests who come there. This dance is considered a sign of openness of the community in welcoming guests who come there and as an expression of gratitude and happiness of the community in welcoming the guests.

The concept used in this sekapur sirih dance is the concept of cultural identity to show one of the cultures that is often practiced in the Jambi district in welcoming guests who come to Jambi.

Keywords: Cultural Identity, Representative

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Pendet dance is one of the welcome dances or typical Balinese dances from Bali Island, Indonesia.

This dance usually played by the female dancers with a bowl containing a variety of flowers that became his trademarks.

Pendet dance divided into two types based on its function, namely Sacred Pendet Dance and Welcome Pendet Dance. For sacred Pendet Dance is displayed as part of the religious rituals of Balinese people. In this dance performance everything is simpler, but the religious elements is very thick on this dance. While Welcome Pendet Dance is displayed as entertainment or welcoming dance.

In the show, Pendet dance is played by the female dancers who each carry a bowl containing various flowers as a dancing property. At the end of the show the dancer sprinkle the flowers they bring towards the audience and the guests as a welcome greeting. The dancer dances with a dynamic movement in accordance with the rhythm of his musical accompaniment.

Music accompaniment in this dance is Balinese Gamelan music such as gangsa, kenyur, tungguh, kendang and others.

Keywords: Cultural identity, representative

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NURIN AINA BINTI FADLI (C18A0616)      KABASARAN DANCE - NORTH SULAWESI

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NURIN AINA BINTI FADLI (C18A0616)      KABASARAN DANCE - NORTH SULAWESI

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Kabasaran dance is a traditional Minahasa war dance which is from North Sulawesi in Indonesia. This dance is quite popular among the Minahasa people and it often displayed at ceremonies and various other events.

Historically, Kabasaran dance a war dance that is often performed by Minahasa warriors before or after the battlefield. The dancer of Kabasaran dance must come from the descendants of  Kabasaran dancers as well. This dance cannot be performed by just anyone because its sacred nature and each dancer’s family usually has special weapon that are inherited from generation to generation.

The elements of Kabasaran dance contains an ethical messages to maintain mutual security with a sense of togetherness in unity. The dancers display a movements like wars namely punches, and defenses. The movements consists the basic movements of guard in guarding the attacks from enemies and movements by carrying a shields and swords or samurai.

This dance accompanied by Gong, Tambur and also combined with the traditional Minahasa regional musical instrument.

Keywords : Cultural identity, representative

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Kabasaran Dance - Festival Indonesia 2015

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Peacock Dance is one of the new dance creations that express the life of animals, namely peacocks. The procedure and movements are taken from the life of a peacock that was taken to the stage by Sundanese artist Raden Tjetje Somantri. The peacock is an animal the size of a chicken, has fine feathers and a crown -like head. The life of a peacock that always develops its tail feathers to attract female peacocks inspired R. Tjetje Somantri to make this Peacock dance. In his performance, the feature that it is visible from the clothes worn by the dancers has a motif like peacock feathers. His cloth and shirt reflect the shape and color of peacock feathers; blue green and/or black. Plus, a pair of wings depicting the wings or tail of a peacock being developed. The image of a peacock will be clear by wearing a crown mounted on the head of each of its dancers. This dance is usually danced together, usually three or more dancers who each have a function as a woman and a man. The accompaniment of the gending song is the song Macan Ucul. In certain movement scenes, sometimes waditra bonang is beaten on the wooden part which is very hard until it sounds loud, it is part of the movement of a pair of peacocks who are making love. Of the many dances created by Raden Tjetje Somantri, perhaps this Peacock dance is a famous dance in Indonesia and abroad. It is not surprising that Balinese artists as well, among them Denpasar students created the Manuk Rawa dance whose concept and movement is almost similar to the Peacock dance.

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TARI MERAK (Peacock Dance) Kreasi Baru Jawa Tengah - Indonesian Dance [HD]

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KHAIRUNNISA' BT ZULKIFLI C18A0085

This traditional Jepen dance comes from the eastern Kalimatan of Indonesia. East Kalimatan has Mahakam river area which is the place where this Jepen dance developed. This dance was developed by the Kutai and Banjar tribes. This dance movement has the influence of Malay and Islamic culture. One of the characteristics of Malay is the tata rias and clothing. Jepen dancers wear a combination of Malay and Indonesian clothes that are thick Islamic nuances. Jepen dance depicts Malay culture that is dynamic, powerful and interesting. This dance was pulled by women and served as entertainment in the coronation of the kings of Kutai Kartanegara sultanate in Tenggarong in ancient times. however, since the 1970s, the dance has been performed in honors, wedding ceremonies and so on. Jepen dance has two types of dance, namely Jepen Genjoh dance and Jepen Eroh dance. Jepen Genjoh dance that depicts malay culture while Jepen Eroh dance does not leave the original movement called variety of homages, waves, samba handlebars, full samba and gengsot anak. In the performance Jepen dance accompanied by Tingkilan music which is one of Kutai's typical music.

Keywords: cultural identity, ethnicity

https://youtu.be/DyUpJT63Zes

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MUHAMMAD FIRDHAUS BIN OTHMAN
C18A0164

The condong dance is the court dance and originated in the by palaces of Bali in the mid-19th century and the the show to the royal family . folk history suggests that a prince of Sukawati, deathly ill, saw a vision of two beautiful girls dancing gracefully while accompanied by gamelan music; upon regaining his health, this prince recreated the dance he had seen. It originally told the story of two bidadari (nymphs) named Supraba and Wilotama.

In current performances, the condong dancer play as portraying a palace servant who both serves the king and is in awe of his power, and of the beauty of the king's daughter. In dances prefacing legong performances, the condong dancer enters the stage first, and performs her routine. The dancer is generally a young girl, and her movements take what ethnomusicologist Michael Tenzer terms a "sharp and intense" character. When the legong performance proper begins, the condong dancer may dance with the legong dancers, presenting each dancer with a fan before withdrawing. The average length of a condong performance is about 15 minutes. In the legong lasem form, the condong dancer returns with the wings of a raven to foretell the demise of the titular King Lasem. As with legong dances, condong is accompanied by the semar pangulingan style of gamelan. This musical accompaniment takes the form of a series of short 16-beat melodies, in the gegaboran metre. In the condong dance performed as a preface to legong kraton, the music concludes with a shift to batel metre.

This dance is accompanied by the semar pangulingan style of gamelan. This musical accompaniment takes the form of a series of short 16-beat melodies, in the gegaboran metre. In the condong dance performed as a preface to legong kraton, the music concludes with a shift to batel metre.

Keywords : Cultural Identity

https://youtu.be/xnKA7-75Ewg

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MONONG DAYAK KALIMANTAN WEST DANCE
SRIMANDARWATI BINTI BUDI
C18A0429

Monong dance is a traditional ceremonies celebrating the harvest and ritial offerings. Monong dance also often referred to as the Monong dance. Monong dance is a disease repellent dance so that the sufferer can recover. This dance is pergormed when an elder or shaman is in a trance.
Monong dance is danced by men, women or both as a pair dance. In addition to wearing traditional clothing, dancer carry shields and weapons as symbolic to ward of evil spirit. The dance movements of the shaman in the healing process. Some of the words were even spoken. Monong dance ises a straight and curved floor pattern

Keyword : cultural identity, ethnicity

https://youtu.be/CX8Mk2PO4dw

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SITI NADZIRAH BINTI YUSOFF C18A0403

Songket Weaving Dance is inspired by weaving activities which is a hereditary tradition that is often performed by Palembang women. The weaving activities by the artists are processed into a tariff exercise entitled rampak kipas songket brada dance.

The dance shows the joy for Palembang women in songket weaving and their diligence. This number of dancers is usually performed by five dancers, but there are no standard rules and can be increased or decreased according to the ability of the performance stage.

The rampak kipas songket dance movement is dominated by hand movements that depict a weaving tradition performed by Palembang girls and weaving songket cloth. The fan released by the dancers is as the final scene of this dance staging.

The accompaniment used for this dance uses percussion instruments and percussion music that are played randomly or together with the same beat pattern. In addition to a percussion instrument also uses an instrument that characterizes the Malay music, namely Accordion. The tempo used is adapted to the dance moves.

keywords; Cultural Identity

https://youtu.be/Mv4yipVp6K0

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NUR LAILA AZIRA BINTI A. JALIL C18A0302

Janger Dance is a dance that originated from Bali that basicly will be performed as many as 10 to 16 people young dancers. Performed by a female dancer (Janger) and male dancer (Kecak) in a simple, cheerful and full of spirit. When performing this dance, the dancers sing lagu Janger is blared as well as accompanied by a Gamelan Batel (Tetamburan) and a Gender Wayang. In the show, Dance Jangger consists of several parts including the opening, pepeson, pejangeran, drama and ended with a cover. As the dance of the people, the development of the Janger Dance so rapidly and spread in almost all areas of Bali. Interestingly, this dance is in each of these areas in Bali have a variety of its own customized with community supporters.

keyword : Cultural Identity, Bali, ethnicity

https://youtu.be/9HZC-W1Kmhg

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NOR FAIZAH BINTI ISMAIL C18A0220
Tempurung Dance is a dance that uses coconut shells in its dance performance. This dance is one of the traditional dances danced for generations by the Kanagarian people of Batu Manjulur, West Sumatra.

The function of this dance is as an entertainment and communication medium, to wait for guests, traditional Minangkabau events, and weddings.

The way this dance is performed is by using coconut shells on both hands and the shells will be played according to the rhythm. This dance movement is very simple. The movement of the Shell dance consists of four types of movements.

This dance uses music in its performance in the form of traditional music of West Sumatra.

keyword: cultural identity, West Sumatra
https://youtu.be/XQMYrA2-xY8

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C18A0309 NUR SAIDATUL NADIA ABU HASAN. -KECAK DANCE-

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C18A0309 NUR SAIDATUL NADIA ABU HASAN. -KECAK DANCE-

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Kecak dance is performed as an art show when tourists travel to Bali. Someone will act as a leader who gives the initial tone. Another acts as suppressor who is tasked with giving high as well as low tones. While another acts as the mastermind who delivers the storyline.

The Shangyang ritual or tradition of rejecting the bala in which the story of Ramayana is inserted. Kecak dance tells about the search for empress Shinta, Raja Rama and assisted by Hanoman. The meaning of moral values in this Kecak dance is that sincere love will win with prayer in earnestess.

The Kecak dance is performed by dozens of bare-chested men and wearing plaid cloth around the waist to above the knees. All the dancers make a “cak” sound to form Acapella music.

keywords: cultural identity, representative

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VIDEO FULL TARI KECAK DI ULUWATU BALI DARI AWAL PENAMPILAN SAMPAI AKHIR - Uluwatu Iindonesia

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Muhammad Adha Bin Abdull Raoh C18A0142

Saman dance is one of the media to convey a message or da'wah. This dance reflects education, religion, manners, heroism, solidarity and togetherness.

This dance is guided by a leader who is commonly called a sheikh. Because uniformity of formation and timeliness are imperative in performing this dance, dancers are required to have high concentration and serious practice in order to perform perfectly. This dance is especially danced by men.

This dance was performed in certain traditional events, including in a ceremony to commemorate the birthday of the Prophet Muhammad. In addition, especially in today's context, this dance is also performed at official events.

Saman dance is usually performed not using musical instrument accompaniment,but using the sound of the dancers and their clapping which is usually combined with hitting their chest and groin as synchronization and throwing their bodies in various directions.

The Saman dance is a Gayo tribe dance that is usually performed to celebrate important events in custom. In some literature, the saman dance in Aceh was founded and developed by Syekh Saman, an ulama who came from Gayo in Southeast Aceh.

Keyword- cultural identity
https://www.youtube.com/watch?v=E2RZaxW_-A0

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Muhamad Amir Farid Bin Hamdan C18A0132

Tari Bendrong Lesung is a dance art that comes from Banten Province. This dance art uses the form of a mortar and pestle. This tool is often used to pound rice or rice flour. Not only the people of Banten use this tool, but almost all Indonesians use it, considering that some Indonesians live from the agricultural sector that produces paddy or paddy.

Bendrong Lesung or Gondang Lesung dance, usually performed by adult women, but has now spread to teenagers and childrenThis art is part of the rituals of the Banten people, especially during the harvest season, the Bendrong Dance is often performed. To preserve the art of Bendrong Lesung Dance, the people of Banten often perform at certain events such as weddings, cultural art titles and ceremonies to welcome guests of honor.. The simplicity of this tool will produce a unique and lively sound, namely “tuk, tak, tuk, tak” which is a hammer fist into a mortar

Acting with the grace and dexterity of the dancers is a wonderful collaboration and really attracts the attention of tourists. This art is called Bendrong Lesung Dance. In general, the dance is performed by a pair of young men and women, wearing bright and colorful traditional Banten costumes. It takes extra energy to lift a fairly heavy hammer, so it requires a backup dancer around the mortar.

Keword-Cultural Identify

https://youtu.be/ygiRIozTv1A

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Turuk Langgai is a mentawai people dance. Turuk Langgai  is a healing ritual or treatment for the sick. Turuk Langgai was presented in ritual to entertain the sick person so that they happy and won’t leave their body, if they leave their body they will die. The dance was also used to spread the good values such as peace, prosperity, love and tribal union.

In the process, the Sikerei ( shaman ) will sing their Tuddukat and Urai when dancing and after done dancing. While the dance movement is an animal kind such as bird flying freely and rabbit run away from the hunter

keyword : cultural identity, ethnicity

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Turuk Laggai Uliat Manyang || Hari Jadi Kab. Kep. Mentawai ke- 20, Tahun 2019

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mohammad khunnais bin abu sin C18A0120

Mask dances have been around since the 10th century AD. Mask dance developed in the 10th century AD to 16 AD during the reign of King Panji Dewa or King Amiluhur.

Prabu Panji Dewa is the King of Jenggala in East Java. Then over time, this dance spread to several areas in West Java, one of which is Cirebon.When the dance enters Cirebon, this dance blends with local art to create a distinctive dance.

Mask dance has certain meanings, philosophies, and symbols, such as romance, leadership, and wisdom. In the staging, these things will be conveyed to the audience to understand and be able to learn lessons from this dance.

Even according to stories circulating in the community, Sunan Gunung Jati and Sunan Kalijaga once used this dance as a medium of preaching to spread Islam .

Music
To accompany the staging of the mask dance, not only use musical instruments, but also use song accompaniment. Of course, this is the uniqueness of mask dance compared to other regional dances.

There are many songs that are often used for staging, among others:

Kembangsungsang for Topeng Panji

Kembangkapas for Samba Mask

Rumyang for Rumyang Mask

Tumenggung for Topeng Tumenggung

Gonjing for Topeng Kelana
https://youtu.be/JRERt8U4s1c

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C17A0001
ABDULLAH IDRIS

FUNCTION

The dance of the Balinese that was performed to tell the story of a panther like creature that is thought to be the king of spirits. The leader of the good host and the arch enemy of Rangda, the demon queen and mother of all spirit. Barong and Rangda is an eternal fight of good and evil.

HOW TO PERFORM

It is performed in portrayal of Barong responding to Rangda uses of magic. In traditional way, barong is struggling against Rangda and the mythical creature would dance along their fight with priest throwing holy water at it.

·        The dance opens with two playful monkeys teasing Barong in a peaceful environment.

·        The next scene is popularly known as "Keris Dance". The Rangda character appears and wreaks havoc. She casts black magic upon male dancers, who represent Airlangga's soldiers, and orders them to commit suicide. In a trance, these men stab themselves on their chest with their own kris. Meanwhile, Barong and the priest cast protective magic on these men, which makes them invulnerable to sharp objects.

·        The dance ends with the final battle between Barong and Rangda, concluding with the victory of Barong over Rangda. Rangda runs away, the evil is defeated, and the celestial order is restored.

CONCEPT AND PHILOSOPHY

The basic concept of this dance is about the eternal fight between good and evil. How the one overpowered the other in the struggle of power.

CHARACTER

Rangda is Barong's opposite. While Barong represents good, Rangda represents evil. Rangda is known as a demon queen, the incarnation of Calon Arang, the legendary witch that wreaked havoc in ancient Java during the reign of Airlangga in the 10th century. It is said that Calon Arang was a widow who had mastered the art of black magic, who often damaged farmer's crops and caused disease to come.

MUSIC

The main composition of instrument revolve around and a few set of drums of different variation, a string to accompany the music.

KEYWORDS

Cultural Identity, Ethnicity

https://www.youtube.com/watch?v=t7CMss4oO2I

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Tari Piring Sumatera Indonesia
Nur Sazlien Binti Sayuti C16A0274