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.

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

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

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

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

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 

  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

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

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

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

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

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