Indonesian Dance sorts

1. The Gantar Tarian dance that depicted the movement of the person buried rice. The stick depicted the pounder's wood whereas bamboo as well as the seeds inside depicted the rice seed and his forum. This dance was famous enough and was often presented in the guest reception and the agendas lainnya.Tari this only was not known by the Dayak Tunjung ethnic group but also was known by the Dayak Benuaq ethnic group. This dance could be divided into three versions that is the Rayatn Post dance, Gantar Busai and the Post of Senak/Gantar Kusak. The War dance.
2. The dance of Kancet Papatai/Tari Perang Tarian this told all about a hero Dayak Kenyah waged war against his enemy. The movement of this dance was very agile, agile, was full of the spirit and was sometimes followed by the scream of the dancer. In the Kancet Pepatay dance, the dancer utilised traditional clothes the Dayak Kenyah ethnic group was supplemented with war equipment like the sword, the shield and battledress. This dance was accompanied with the Sack song of the Nail and only used the musical instrument until.
3. The dance of Kancet Ledo/Tari Gong Jika Tari Kancet Pepatay depicted masculinity and the man's power Dayak Kenyah, conversely the Kancet Ledo Dance depicted the gentleness of a girl like a rice that bent-liuk soft was blown by the wind. This dance was brought by a woman by wearing traditional clothes the Dayak Kenyah ethnic group and to his two hands held the series of Enggang birds tail feathers. Usually this dance is danced on a gong, so as Kancet Ledo was acknowledged also as the Gong Dance.
4. The Kancet Lasan Menggambarkan dance the everyday life of Enggang birds, birds that were honored by the Dayak Kenyah ethnic group because of being regarded as the sign of grandeur and heroism. The Kancet Lasan dance was the single dance the ethnic group's Dayak Kenyah woman who was the same the movement and his position like the Kancet Ledo Dance, but the dancer did not utilise the gong and Enggang birds hairs but also the dancer often utilised the position descended and squatted or sat with knees touched the floor. This dance more it was stressed in the movements of Enggang birds when flying flew and alighted settled in the branch of the tree.
5.Tari Leleng Tarian this told how a girl was named the Along forest that will be combined forcibly by his parents with the young man who was not loved by him. The Along forest had finally escaped into the forest. This Dayak Kenyah dance of the ethnic group's girl was danced by being accompanied the Leleng song song.

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Indonesia just like art that involved the traditional, one of them was this mask dance.

The name of the Typical Dance the Area of the National cultural Tradition

1. Provinsi DI Aceh / Nanggro Aceh Darussalam / NAD
Tari Tradisional : Tari Seudati, Tari Saman Meuseukat
2. Provinsi Sumatera Utara / Sumut
Tari Tradisional : Tari Serampang Dua Belas, Tari Tor-tor
3. Provinsi Sumatera Barat / Sumbar
Tari Tradisional : Tari Piring, Tari payung
4. Provinsi Riau
Tari Tradisional : Tari Tanduk, Tari Joged Lambak
5. Provinsi Jambi
Tari Tradisional : Tari Sekapur Sirih, Tari Selampit Delapan
6. Provinsi Sumatera Selatan / Sumsel
Tari Tradisional : Tari Tanggai, Tari Putri Bekhusek
7. Provinsi Lampung
Tari Tradisional : Tari Jangget, Tari Melinting
8. Provinsi Bengkulu
Tari Tradisional : Tari Andun, Tari Bidadei Teminang
9. Provinsi DKI Jakarta
Tari Tradisional : Tari Topeng, Tari Yapong
10. Provinsi Jawa Barat / Jabar
Tari Tradisional : Tari Topeng Kuncaran, Tari Merak
11. Provinsi Jawa Tengah / Jateng
Tari Tradisional : Tari Serimpi, Tari bambangan Cakil
12. Provinsi DI Yogyakarta / Jogja / Jogjakarta
Tari Tradisional : Tari Serimpi Sangupati, Tari Bedaya
13. Provinsi Jawa Timur / Jatim
Tari Tradisional : Tari Remong, Tari Reog Ponorogo
14. Provinsi Bali
Tari Tradisional : Tari Legong, Tari Kecak
15. Provinsi Nusa Tenggara Barat / NTB
Tari Tradisional : Tari Mpaa Lenggo, Tari Batunganga
16. Provinsi Nusa Tenggara Timur / NTT
Tari Tradisional : Tari Perang, Tari Gareng Lameng
17. Provinsi Kalimantan Barat / Kalbar
Tari Tradisional : Tari Monong, Tari Zapin Tembung
18. Provinsi Kalimantan Tengah / Kalteng
Tari Tradisional : Tari Balean Dadas, Tari Tambun & Bungai
19. Provinsi Kalimantan Selatan / Kalsel
Tari Tradisional : Tari Baksa Kembang, Tari Radap Rahayu
20. Provinsi Kalimantan Timur / Kaltim
Tari Tradisional : Tari Perang, Tari Gong
21. Provinsi Sulawesi Utara / Sulut
Tari Tradisional : Tari Maengkat, Tari Polo-palo
22. Provinsi Sulawesi Tengah / Sulteng
Tari Tradisional : Tari Lumense, Tari Pule Cinde
23. Provinsi Sulawesi Tenggara / Sultra
Tari Tradisional : Tari Dinggu, Tari Balumpa
24. Provinsi Sulawesi Selatan / Sulsel
Tari Tradisional : Tari Bosara, Tari Kipas
25. Provinsi Maluku
Tari Tradisional : Tari Lenso, Tari Cakalele
26. Provinsi Irian Jaya / Papua
Tari Tradisional : Tari Musyoh, Tari Selamat datang
27. Provinsi Timor-Timur / Timtim
Tari Tradisional : Tari Wira, Tari Suru Boek

Keterangan :
Data ini berdasarkan jaman Indonesia masih 27 propinsi dengan provinsi terakhir masih timor timur. Timor timur kini sudah terpisah dari NKRI menjadi negara baru yang berdaulat dengan nama Timor Leste.

Socially the West Javanese Province Culture

Poetic words above not at random poetry, but as living philosophy that was followed by the inhabitants's West Javanese majority. This philosophy taught humankind to take care of each other with the base loved each other and shared knowledge and the experience with each other. The identity, this a concept of the democratic life that was rooted in the awareness and intellect grandeur, that his philosophy root penetrating far inside the earth in the understanding hafiah. Was different from the community's other civilisation in the Indonesian Archipelago, the community's West Javanese civilisation that had an original population and spoke Sunda was really affected by fertile and natural nature. That was the reason, in the social interaction, the community there followed philosophy like in quoted above.

Apart from being close naturally the environment and the fellow humankind, Sundanese humankind also close to the Lord who created them and created their place universe berkehidupan (Triangle of life). The closeness of the Sundanese community with the appearance environment from how the West Javanese community, especially in rural areas, maintained conservation of the environment. In this province often emerged the community's member who on the initiative personally maintained their nature environment.
The closeness of the West Javanese community with the Lord, caused the community there relative was known as the religious community, relijius, that held firm the values of the religious teaching that was followed by them namely the Islam religion as the religion with the biggest follower, afterwards Christian (Catholic and Protestan), Hindu, Buddha, and other. Despite this, in the process of the everyday life, the West Javanese community relative was open when interacting with the new values that tended secular in a process of the dynamic and harmonious interaction. The increase in the quality of the life and the harmony religious groups were depicted with the increase in means peribadatan. The number of Mesjid increased from 43,005 during 2004 to 50,339 during 2005, the Kristen Church from 1,536 became 1,629, the Church of Katolik/Kapel from 50 became 110, the Temple/Kuil/Sanggah from 24 became 25 and the temple/Cetya/Klenteng from 171 became 181.
The West Javanese culture was dominated Sunda. His traditional tradition that was full of the treasury Earth Pasundan became the cultural mirror there. Regional Regulations of Kebudayaan West Java in fact included the maintenance of the language, literature, and the regional script, art, archaeological and his history, the traditional values but also the museum as part of the cultural management. Tourism was based on culture that put forward West Javanese cultural art, was ready to be put forward and to be worth economics. To conserve the West Javanese culture, the regional government maintained 12 cultural villages, namely the typical village that in the order for the interests conserved the culture in the form of the tradition or the traditional house

Maybe Indonesian cultural Tourism advanced?

Why did the person from the United States, England, France, et cetera come to flock to the Kuta coast and the Sanur coast in Bali? Not in their country personally was gotten many coasts that possibly his nature scenery was more beautiful than Kuta coastal scenery and Sanur in this Bali? When being studied by us more in, evidently that became their aim, these foreign tourists were to want to see Balinese Culture that was famous exotic and unique, that was different from culture of their community. When Bali did not offer culture of his community, possibly will not have the attraction of the tourists to visit him. The matter so in fact was the concrete picture of the concept of cultural tourism that his term was often talked about by the policy makers (the government) and the academics, but often was difficult to be explained in the operational conceptual definition, especially in agreeing to the concept of the culture personally.
In the Indonesian anthropology treasury, culture had in the classic perspective been defined by Koentjaraningrat as the whole, the action, and the work of humankind of the idea system in the life of the community that was made belonging to himself humankind that was received by means of studying. In this understanding, culture included all the matters that were the results whole was creative, the desire, and the work of humankind, including inside objects produced by creativity/the human creation. However in the perspective of more contemporary anthropology, culture was defined as a symbol system and the meaning in a human community that inside was met by the standards and the values about social relations and the behaviour that became the identity from the relevant community.
Therefore, cultural tourism was the tourism kind that be based on to the place mosaic, the tradition, art, ceremonies, and the experience that photographed a nation/the ethnic group with his community, that reflected the diversity (diversity) and the identity (character) from the community or the relevant nation. Garrison Keillor, during 1995 in his speech in White House Conference ounce Travel & Tourism in the United States, defined cultural tourism in America in a manner was good with said, "We need to think about cultural tourism because really there Is no other kind of tourism." It apostr s what tourism Is... People do the note come to America for our airports, people do the note come to America for our hotels, or the recreation facilities.... They come for our culture: high culture, low culture, middle culture, right, left, real or imagined -- they come here to see America.
Therefore, cultural tourism was the tourism kind that be based on to the place mosaic, the tradition, art, ceremonies, and the experience that photographed a nation/the ethnic group with his community, that reflected the diversity (diversity) and the identity (character) from the community or the relevant nation. Garrison Keillor, during 1995 in his speech in White House Conference ounce Travel & Tourism in the United States, defined cultural tourism in America in a manner was good with said, "We need to think about cultural tourism because really there Is no other kind of tourism." It apostr s what tourism Is... People do the note come to America for our airports, people do the note come to America for our hotels, or the recreation facilities.... They come for our culndonesia was the country that was very rich with nature resources and abundant cultural resources. Our nation was the nation that very multi, both that multi-insular, the multi-culture, multilingual, and the multi-religion.
The progress of cultural tourism in Bali was very ironic with the condition for cultural tourism in Indonesian areas other. In Subang, West Java for example, ten years ago, his youth children still many that were interested in studying the dance jaipong, sisingaan, and to the puppet mastermind roll over. Almost every week and in the ritual agenda the life was always invited the stage as merry cultural entertainment. At this time, when technology increasingly advanced, ironically cultures of this area increasingly vanished in the community, in fact only could be witnessed in television and the Mini Garden. In fact cultures of this area, when being managed well apart from could become cultural tourism that produced the income for the good government of the centre and the area, also could become the work land that was promising for the surrounding community.