DANCE IN INDONESIA

Indonesian: fire dance, 2019

The two most famous types of Indonesia dances are the Javanese dance and the Balinese dance. Javanese dance movements are slow and depict stories of adventure, love, or battles. Balinese gestures are quick and usually represent religious stories. Traditional gong-oriented percussion orchestras — gamelans — provide the music that accompanies the dances. [Source: Blackbirch Kid's Visual Reference of the World, Gale Group, Inc., 2001]

There are a number of traditional Javanese and Balinese dances that grew out of Hindu culture and Indian dances. Some traditional dances depict episodes from the Ramayana and Mahabharata from India. The highly stylized dances of the courts of Yogyakarta and Surakarta are some of the popular variations.

Sardono Kusumo (See Modern Dance Below) is Indonesia’s best-known choreographer. Eko Supriynato is its best know dancer. He has worked with Kusumo and toured with Madonna.

Lengger is a style of dance performed in Wonosobo (Central Java) featuring men dressed as women. Kalimantan is home to mandau, a type of dance performed with knives and shields, and Manasai, a group dance that tourists are welcome to participate in.

Jaipongan is a percussion-based music using instruments from the Sundanese gamelan, particularly the “rehad” and “kendang”. It has a strange but danceable 16- or 32-beat rhythm, marked by a one-note gong, and no discernable Western influence. Jaipongan is also a form of modern dance performed in western Java that features complex rhythms, break dance and martial moves and sexually suggestive movements.

Characteristics of Indonesia Dances

women performing the kretek dance in Kudus in Central Java; the dance honors the kretel (clove cigarette), which originated in Kudus

Claire Holt wrote in “Art in Indonesia”: Many Indonesian dances involve “sitting, kneeling, crouching and half-crouching positions. When upright a dancer often lowers his body on pliant knees. Progress in space is largely accomplished in a variety of measured steps, with little running and virtually no hopping, leaping or skipping...conspicuous in it absence is spinning or whirling of the body around on its axis. Sinuous adulations of the body, as for instance in the Polynesian hula dances, are absent too, Back bends are as are other acrobatic features.

“The tempo of dances is more often slow or moderate than rapid. Dance gestures in many areas tend to weave between rather than coincide with the accents of musical beats, In speed, the Balinese are exceptional as, for instance in the scintillating rapidity of the legong dances performed by little girls. Dancers as a rule do not traverse wide spaces while in motion, In many cases they remain practically in one place. There may be grandiose formations of many rows or large circles, bu the space within which each participant moves at any given movement is limited.”

According to the Encyclopedia of Dance: “The hands are a vital means of express, with finger positions an essential aspect of characterization. Costume, including headdress, is a major means of defining a dance and establishing character....Most dances are specific to either males of females, with the exception of some courtship and recreational dances, in which both may dance together; even then bodily contact between males and females is not seen in traditional forms.. Dance theater often involves performers of both sexes.”

Early History of Dance in Indonesia

Dr. Jukka O. Miettinen of the Theatre Academy Helsinki wrote: The largest of all Central Javanese Hindu temples, and indeed of all Javanese Hindu temples, is the Loro Jonggaran group, also known as Prambanan. It was constructed in A.D. 835–856 and it comprises altogether 227 temple towers, some of which are decorated with narrative series of reliefs. The exceptionally early Ramayana panels show few actual dance poses. However, they include many fixed positions related to martial arts and archery. These poses and positions found their way into the later Javanese dance techniques. Dance is more prominent on the outer walls of the central tower of the complex. There are 62 reliefs showing clearly Indian-influenced dance poses. It possible that these reliefs reflect the Indian system of karanas, the fixed dance units described in the Natyashastra, the Indian manual of dance and theatre, compiled in c. 100–200 AD. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki **]

8th century Borobudur relief showing a dancer with an orchestra

“The largest Buddhist building is Borobodur, which, in fact, forms a huge three-dimensional mandala with a plan of 113 by 113 metres. Started in A.D. 775 its construction was intended to be a Hindu temple but later the plans were, however, changed and the Buddhist Borobudur got its final form in 835. The lower terraces were meant for circumambulation and were decorated with some 1300 relief panels of altogether 2.5 kilometres in length. The great number of reliefs on the walls of Borobudur include numerous dance images. Many of them depict dance performed at court by female dancers. Usually these court performances show a clear Indian influence. Some of the reliefs hint at how the Indian dance technique was transmitted to Java. **

“In several reliefs we find female dancers accompanied by one or two male figures, which bear the iconographical marks of Indian Brahman priests or dance masters. These portrayals of dance performances can give one answer as to how the dance tradition was passed on to local dancers. It was simply taught to locals by the Indian Brahmans, who had the knowledge of the Indian tradition and acted as gurus, or teacher-masters as well as spiritual guides. **

“Although fairly many of the Central Javanese dance images show an undeniable Indian influence, it does not mean that all of them are related to the Indian tradition. Among the dance-related images one can identify several types of dances or even dance traditions, such as dance rituals, communal dances, recreational dances, martial arts dances, acrobatics, and the above-mentioned court dances. As a general rule, the dances performed in a court context show a clear Indian influence. However, many of the dances do not seem to bear any resemblance to the Indian tradition and they may represent local, indigenous dance traditions.” **

Mask Dancing in Indonesia

Masks, or topeng, have long defined characters in the courtly dance dramas of Javanese rulers. These masks traditionally served to honor kings, both past and present, highlighting their heroic deeds and reinforcing ideals of power and refinement. Many of these performances still center on the legendary figure Panji, an adventurous prince who embodies the highest values of Javanese nobility. Despite numerous challenges, Panji ultimately triumphs, and his identity is immediately recognizable to audiences through the specific physical features of his mask. As in shadow puppet theater, these dramas present a wide range of masked characters, many of which closely parallel those found in wayang performances. [Source: “Culture and Customs of Indonesia” by Jill Forshee, Greenwood Press, 2006]

In Bali, masks play a central role in festivals and sacred rituals, reflecting the island’s emphasis on elaborate and highly expressive artistic forms. Among the most renowned figures are Barong, a benevolent mythical creature associated with protection, and Rangda, a fearsome witch representing destructive forces. Their dramatic encounters form the basis of some of Bali’s most famous performances, with Barong ultimately prevailing after extended sequences of music, dance, and heightened audience engagement. These masks are intricately constructed, incorporating materials such as human or horsehair, plant fibers, carved teeth, painted surfaces, fabric, and gold ornamentation. The Barong costume, often worn by two performers, combines a full-body structure of decorated leather and leaf strips, creating a creature resembling a hybrid of lion, caterpillar, and dragon. Rangda, by contrast, is depicted with wild hair, bulging eyes, long fangs, and a protruding tongue—visual markers of chaos and malevolence in Balinese symbolism.

Although Barong and Rangda appear to represent clear oppositions between good and evil, the performances themselves convey more complex meanings. As one scholar notes, “[t]he barong performance is the expression, through theater, entrancement, and celebration, of the whole complex of the Balinese mythic and religious world—the choreography involves not just a troupe of dancers and musicians, but a whole village.” Masked dance dramas in Bali also draw on babad, or historical chronicles rooted in genealogies. These narratives provide a structural foundation, while performers introduce improvisations that connect the stories to more recent events. Another scholar has observed that masks are the primary visual medium through which babad stories are represented in Balinese drama, even as the tales themselves evolve through new interpretations and added episodes.

Elsewhere in Indonesia, masked traditions take distinct forms. Among the Dayak peoples of East Kalimantan, the Hudoq ritual marks the beginning of the rice-planting season and celebrates the hoped-for harvest. The masks used in this ceremony are unlike those found elsewhere, representing crop pests or fearsome creatures intended to ward off harmful spirits. Often composed of multiple parts with elaborate shapes, they may include carved extensions, beadwork, feathers, and full-body coverings made from banana leaves or grasses. Typically performed by eleven dancers, the ritual unfolds to the sound of gongs and drums. Movements emphasize rhythmic arm gestures and stamping footwork, with dancers circling the performance space before gathering at its center. There, they await spirit possession, signaled by bodily tremors, after which they rise and continue dancing until the ritual concludes under the direction of a specialist.

In West Papua, the Asmat people also employ masks in ceremonial contexts. Their jipai masks cover both head and body, sometimes extending to the legs, and may combine carved wooden elements with woven materials and trailing grasses. These masks are created in secrecy within men’s houses over extended periods of preparation. They are used in rituals in which participants seek contact with ancestral spirits. Across these diverse traditions—from Java and Bali to Kalimantan and Papua—masked performances remain powerful expressions of history, spirituality, and communal identity, blending inherited forms with ongoing cultural adaptation.

Randai of West Sumatra

The narrative dance drama known as randai, originating in the Minangkabau region of western Sumatra, is deeply embedded in the area’s complex cultural traditions. Central to Minangkabau life is the custom of rantau, in which young men leave their villages to seek experience, wealth, and social standing before returning home. This practice is closely intertwined with randai, both in its themes and its function. As one scholar observes, this tradition “is thematically woven through the practice and content of randai.” The performances historically served as preparation for rantau, offering a space where elders could instruct young men on proper behavior, expectations, and potential dangers during journeys that might last six to twelve months.[Source: “Culture and Customs of Indonesia” by Jill Forshee, Greenwood Press, 2006]

Randai combines elements of dance and theater, blending storytelling with physical performance. According to Craig Latrell in his Asian Theatre Journal article “Widening the Circle,” “Since almost every randai story includes an episode in which the hero vanquishes comic villains using pencak silat, performances even today provide an opportunity to show off and perfect moves through hand-to-hand combat and dagger (keris) fighting.” These martial elements highlight the connection between artistic expression and practical skills valued in Minangkabau society.

A randai performance is organized around a circular formation, with participants sitting or moving around a ring. Musical accompaniment typically includes a flute, lute, small gongs, and drums. Before each dramatic scene, dancers move in the circle, clapping their hands and slapping their legs in rhythmic unison. Songs function as narrative devices, while actors positioned in the center engage in dialogue. The rest of the performers remain squatting along the perimeter, maintaining the circular boundary that defines the performance space.

Costumes in randai are distinctive yet relatively simple, consisting of loose black or white trousers with a low crotch, paired with Mandarin-collared shirts. Beaded headcloths and wide sashes tied around the waist complete the attire. As a form of communal folk entertainment, randai is often staged after harvests or during special celebrations, reinforcing its role within the social and agricultural rhythms of Minangkabau life.

The circular structure of randai carries deep symbolic meaning. Within Minangkabau culture, the circle represents unity, inclusiveness, and the balance between visible and unseen realms. This emphasis on circular space is echoed in dances and rituals across Indonesia, where enclosed forms often signify shared identity and social cohesion. In this sense, randai’s lingkaran (circle) expresses a fundamental cultural principle, repeated across different aspects of Minangkabau life. Such recurring motifs connect communities to their heritage while enabling them to adapt and evolve over time.

Saman Dance

The Saman dance is part of the cultural heritage of the Gayo people of Aceh province in Sumatra. Boys and young men perform the Saman sitting on their heels or kneeling in tight rows. Each wears a black costume embroidered with colourful Gayo motifs symbolizing nature and noble values. The leader sits in the middle of the row and leads the singing of verses, mostly in the Gayo language. These offer guidance and can be religious, romantic or humorous in tone. Dancers clap their hands, slap their chests, thighs and the ground, click their fingers, and sway and twist their bodies and heads in time with the shifting rhythm – in unison or alternating with the moves of opposing dancers. These movements symbolize the daily lives of the Gayo people and their natural environment. [Source: UNESCO]

The Saman is performed to celebrate national and religious holidays, cementing relationships between village groups who invite each other for performances. The frequency of Saman performances and its transmission are decreasing, however. Many leaders with knowledge of the Saman are now elderly and without successors. Other forms of entertainment and new games are replacing informal transmission, and many young people now emigrate to further their education. Lack of funds is also a constraint, as Saman costumes and performances involve considerable expense.

Saman dance was inscribed in 2011 on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding. Involving a community of not only players and trainers but also enthusiasts, prominent religious leaders, customary leaders, teachers and government officials, Saman dance promotes friendship, fraternity and goodwill and strengthens awareness of the historical continuity of the Gayo people; Saman dance faces weakening informal and formal modes of transmission due to reduced opportunities for performance and the disappearance of the cultural spaces where transmission takes place, associated with social, economic and political changes that include penetration of mass media and the rural-urban migration of the younger generations; knowledge of the element is diminishing and commercial activities are increasing, posing a threat to the continued meaning of Saman dance to its community. Many important documentation on the Saman dance were destroyed in the 2004 tsunami. An educational program has been proposed to revitalize traditional modes of transmission of the Saman dance in the mersah dormitories for young men.

Padoa Dancers of Savu

Padoa is circular dance performed on the small eastern Indonesian island of Savu at the beginning of the dry season and continuing through the harvest period. In this dance, performers create their own percussive accompaniment through movement. They attach small palm-leaf boxes to their feet, filled with grains or beans, which produce a rattling sound as they step, adding both rhythm and energy to the performance. [Source: “Culture and Customs of Indonesia” by Jill Forshee, Greenwood Press, 2006]

The padoa is an ancient tradition involving young men and women dressed in their finest ikat textiles, which signify their clan identities. The dancers move in a circle, while a male singer stands at the center to introduce a song. The surrounding dancers then repeat the lyrics as they link arms and continue their coordinated, rhythmic circling.

Beyond its performative elements, the padoa also serves as a social space for courtship. The circular formation allows young participants to interact, flirt, and form connections, contributing to the lively and communal atmosphere. Groups can include around thirty dancers, all moving together to foster a sense of unity and to invoke ancestral goodwill for successful harvests in one of Indonesia’s driest regions.

Similar circular dances are found across the archipelago, including among the Toraja of Sulawesi, communities in East Sumba, and the Tetum and other groups of Timor, as well as on Solor. Whether performed for harvest rituals or festive occasions, these dances reflect a broader Indonesian emphasis on community cohesion and the cyclical rhythms of life.

Modern and Contemporary Dance in Indonesia

Dr. Jukka O. Miettinen of the Theatre Academy Helsinki wrote: “Western classical dance technique, ballet, had already found its way to Java in the 1940s, mainly through Dutch ballet teachers. A decade later modern Western dance also started to interest young Indonesian artists. One of the pioneers of Indonesian modern dance was Jodjana, who in his work focused on individualism and personal impressions, aspects, which were not emphasised in the traditional dance of Java. Another pioneer was Seti-Arti Kailola, who went to study in New York at the Martha Graham studio, one of the leading institutes of American modern dance. In Jakarta she set up her own school, thus establishing the long-lasting link between the Graham technique and Indonesian modernism. The Graham technique and aesthetics were also explored by other choreographers, such as Bagong Kussudiardja and Wisnoe, who in their turn established their own dance studios by the end of the 1950s. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki **]

“Another pioneer of Indonesian modern, or more appropriately contemporary, dance, who studied in New York, is Sardono (W.Kusumo). He had a background in classical Javanese dance and he started his exceptional career as one of the star dancers in the Pramabanan Sendratari Ramayana. He established his own Sardono Dance Theatre in 1973. He has worked with artists and styles from different regions of Indonesia and has thus been instrumental for the experiments and innovations later done around the whole country. His works include, among others, environmental and site-specific productions. **

“Several governmental institutions founded since the 1960s have had a decisive role in the development of Javanese as well as Pan-Indonesian dance and theatre. The establishment of the Jakarta Arts Centre Taman Ismail Marzuki (TIM) in 1968 has provided an arena for contemporary as well as traditional arts. The Jakarta Arts Institute, which was opened in 1970, provided further opportunities for both art teachers and students. In 1978 TIM initiated the Young Choreographers’ Festival, which serves as a platform for choreographers and dancers working in the field of contemporary dance around Indonesia.” **

Poco Poco

Poco poco (pronounced poh-choh poh-choh) is a style of music and line dance that became popular in the 1990s and remains popular today. Based on rhythms from Papua in far eastern Indonesia, it has attracted teenagers in miniskirts, women in conservative Muslim head scarves, villagers who sway to the music while in their rice fields and nouveau riche who dance to it at fashionable nightclubs and high society weddings. Poco poco means “voluptuous.”

The poco poco music is associated with poco poco dance, a line dance with two steps t the right and two steps to the left followed by two steps back and then forward and back again. During the sometimes violent anti-Suharto demonstrations in 1998, the police sometimes played poco poco music to bring the crowds under control. Students and protestors who were ready to confront riot police suddenly found themselves dancing and even sharing in some dance steps with police.

Explaining the appeal of the dance, a middle-aged architect told the Washington Post, “We Indonesians love to dance but we’re trying to have a new way to express ourselves that comes from our own culture and own tradition, not just salsa and jive.” His wife said, “Poco-poco will make you sweat. we like it for our health and to lose wight. I’ve lost 20 pounds.”

Poco poco music and dance is derived from tribal music and dances of the rain forest and mountains tribes of Papua. It was popularized and brought the main islands of Indonesia by the army’s much feared special forces, who picked up the music while in Papua and used it for their morning callisthenics. The dance was jazzed and up standardized in the city of Manado in Sulawesi and dispersed with the help of a famous poco poco song by Yopie Latul, a pop star from the Maluka Islands. The lyrics to the song went, “You dance very hot. Your body is very sexy. You’re the only one I love but you’re making my head hurt.”

The song reached a nationwide audience with the help of General Agum Gumelat, for head of Kopassus, the Indonesian special forces, who soldiers perform the dance at his inauguration as commander. In an interview he said, “The dance was very helpful in establishing solidarity and togetherness among the soldiers, especially those from the special forces, who usually conduct their operations with very small numbers of team members.”

Image Sources: Wikimedia Commons

Text Sources: “Encyclopedia of World Cultures Volume 5: East/Southeast Asia:” edited by Paul Hockings, 1993; “Culture and Customs of Indonesia” by Jill Forshee, Greenwood Press, 2006; National Geographic, New York Times, Washington Post, Los Angeles Times, Smithsonian magazine, Encyclopedia.com, Library of Congress, Indonesia Tourism website (indonesia.travel), Indonesia government websites, Live Science, The Conversation, The New Yorker, Time, BBC, CNN, Reuters, Associated Press, AFP, Lonely Planet Guides, Google AI, Wikipedia, The Guardian and various websites, books and other publications.

Last updated April 2026