This article lists the practices listed in UNESCO intangible cultural heritage in Indonesia.
Understand
The country has five practices listed on the "representative list of intangible cultural heritage "From UNESCO and two practices on"emergency backup list ". A practice is also included in the "register of best practices for safeguarding culture ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Indonesian Kris | The kris, or keris, is an asymmetrical dagger characteristic of Indonesia. Both a weapon and a spiritual object, it is considered to have magical powers. The oldest known kris date back to the tenth century. Probably originating in Java, they have spread throughout Southeast Asia. The kris usually has a narrow blade with a wide asymmetric base. The scabbard is often made of wood, although many ivory and even gold specimens are found. The kris derives its aesthetic value from its dhapur (shape and pattern of the blade of which there are about forty variants), from its pamor (decorative effect produced on the blade by the alloy of metals, with nearly 120 variants) and from his tangguh which indicates his age and his origin. A blacksmith, or empu, makes the blades by layering different ores of iron and meteorite nickel. For very high quality blades, the metal is bent dozens, if not hundreds of times, and handled with extreme precision. The empu are highly respected craftsmen who also have knowledge of literature, history and the occult. Passed down from generation to generation, the kris was worn by both men and women in daily life and at special ceremonies. A very rich spirituality and mythology have developed around this dagger. Kris are at the same time objects that are exhibited, talismans with magical powers, weapons, a sacred heirloom, auxiliary equipment for the soldiers of the court, an accessory of ceremonial dress, an indicator of social status or a symbol of heroism. Over the past thirty years or so, kris have somewhat lost their social and spiritual significance in society. While active and respected empu can still be found on many islands, making quality kris the traditional way, their numbers are drastically declining. It is also increasingly difficult for them to find successors to whom they can pass on their know-how. |  | ||
| The Wayang Puppet Theater | Renowned for its intricate puppets and the complexity of its musical styles, this ancient form of storytelling originated on the Indonesian island of Java. For ten centuries, the wayang flourished in the royal courts of Java and Bali, as well as in rural areas. It has spread to other islands (Lombok, Madura, Sumatra and Borneo) where various local styles of performance and musical accompaniment have developed. While these meticulously handcrafted puppets come in varying sizes, shapes and styles, two main types dominate: the three-dimensional wooden puppet (wayang klitik or golèk) and the shadow theater puppet, flat, cut from plastic. leather (wayang kulit) and whose silhouette is projected in Chinese shadow on a screen. The two types are distinguished by their costumes, facial features and articulate bodies. The dalang, a master puppeteer, manipulates the arms using thin chopsticks attached to the puppets. Singers perform complex melodies accompanied by bronze instruments and gamelan (drums). Puppeteers were once considered cultured men of letters who conveyed moral and aesthetic values through their art. The words and actions of the comic characters representing "the common man" were effective devices for criticizing social and political issues. It is undoubtedly to this particular role that the wayang owes its survival over the centuries. The stories borrow their characters from indigenous myths, Indian epics and Persian tales. The repertoire and performing techniques were passed down orally within the families of puppeteers, musicians and puppet makers. Dalangs must be able to memorize a wide repertoire of stories, recite passages from ancient tales and sing poetic songs with wit and inventiveness. The Wayang Puppet Theater remains very popular with the public. But to overcome competition from contemporary forms of entertainment such as video, television or karaoke, puppeteers tend to exaggerate comic scenes to the detriment of the storyline and replace musical accompaniment with pop music, contributing to alter some of the characteristics of the tradition. |  | ||
| Indonesian Batik | Oral traditions Social practices Know-how related to traditional craftsmanship | The techniques, symbolism and culture that are associated with Indonesian Batik, a hand-dyed cotton and silk fabric, mark the lives of Indonesians from the beginning of their existence until their death: infants are carried in large slings in batik specially tied and decorated with symbols intended to bring them good luck, while the deceased are draped in batik shrouds. Fabrics decorated with designs suitable for everyday life are commonly worn in professional and academic circles; for weddings, pregnant women, puppet theaters and other forms of artistic expression, specially decorated variations are created. Clothing even plays a central role in some rituals, such as offering ceremonies where royal batik is thrown into the crater of a volcano. The batik is dyed by artisans, proud to draw patterns on the fabric by tracing lines and dots with hot wax; this is resistant to vegetable dye and other dyes, which allows the craftsman to select different colors by soaking the fabric in a dye, then removing the wax with hot water and repeating the operation with another color as many times as you want. The great diversity of motifs reflects the variety of influences, from Arabic calligraphy, European floral art, to Chinese phoenixes, including Japanese cherry blossoms and Indian or Persian peacocks. Often passed down from generation to generation within families, the art of batik is intimately interwoven with the cultural identity of the Indonesian people and expresses their creativity and spirituality, through the symbolic meanings of their colors and designs. |  | |
| Indonesian Angklung | Oral tradition and expression Performing arts Customs, rituals and celebrations Knowledge and practices concerning nature and the universe Know-how related to traditional craftsmanship | The Angklung is an Indonesian musical instrument made up of two to four bamboo tubes arranged vertically in a bamboo structure and tied with rattan strings. The tubes are carefully cut and cut by a master craftsman to produce certain notes when shaking or hitting the bamboo frame. Each Angklung utters a unique note or chord, so several players must collaborate to perform melodies. Traditional Angklung uses the pentatonic scale, but in 1938 musician Daeng Soetigna introduced an Angklung using the diatonic scale, known as angklung padaeng. Closely linked to traditional customs, arts and cultural identity in Indonesia, Angklung is performed during ceremonies such as rice planting, harvesting and circumcision. Harvesting the special black bamboo for Angklung is done during the two weeks of the year when the cicadas sing, and the bamboo is pruned at least three segments from the ground to keep its roots spreading. The teaching of Angklung is passed orally from generation to generation, and increasingly in schools. Due to the collaborative nature of Angklung music, its practice promotes cooperation and mutual respect between players, as well as discipline, a sense of responsibility, focus, the development of the imagination. and memory, as well as artistic and musical sense. |  | |
| 1 Three kinds of traditional dance in Bali | Oral traditions and expressions, including language as a vector of intangible cultural heritage Performing arts Social practices, rituals and festive events Knowledge and practices concerning nature and the universe Know-how related to traditional craftsmanship | There are three kinds of traditional dances to Bali - sacred, semi-sacred and those intended for the entertainment of communities in general. Traditional Balinese dancers are dressed in traditional costumes made of brightly colored fabrics and decorated with painted gold designs of animals and flowers. To this dress are added jewelry and various accessories covered with gold leaf. The dances are inspired by nature and symbolize particular traditions, customs and religious values. They combine a variety of different movements including basic posture, knees turned outward and stomach tucked in, locomotor movements performed in different directions and at different tempos, transition movements punctuated by dynamic changes and finally, facial expressions whose eye movements alternately express happiness, sadness, anger, fear, love. The dances are accompanied by a gamelan. All dancers must, in addition to their technical mastery, demonstrate humility and discipline and possess charisma and a special spiritual energy which brings the show to life. In Balinese communities, dances are mainly transmitted to children in informal groups from an early age. Training begins with teaching basic dance positions and movements, followed by more complex choreography. Classes last until students memorize the sequence of movements for a given dance. Traditional Balinese dances provide participants with a strong sense of cultural identity based on their awareness of safeguarding the cultural heritage of their ancestors. | .JPG/150px-Barong_dance_batubulan_(12).JPG) | |
| The pantun Note Indonesia shares this practice with Malaysia. | 2020 | * Performing Arts * Social practices, rituals and festive events * Oral traditions and expressions * Knowledge and practices concerning nature and the universe | Pantun is a form of Malay poetry that expresses complex ideas and emotions. It is the most common form of oral expression in maritime Southeast Asia, used in many parts of the region for at least 500 years. The pantun follows the a-b-a-b rhythm. The four-line form is the most popular. Pantun can be transmitted in music, song or writing. Over seventy percent of the compositions express love for his / her partner, family, community or nature. The verses can be recited at weddings, customary rites and official ceremonies. Pantun represents a more socially acceptable way of expressing oneself indirectly by being courteous. It is also a moral instrument as its verses often include religious and cultural values such as restraint, respect, kindness and humility. The pantun also plays a diplomatic role in conflict resolution because it allows you to talk about important topics with a certain sensitivity. He also praises harmony with nature and flexibility in human relationships. Pantun is taught formally in arts schools and workshops and through informal means. |  |
Register of Best Safeguarding Practices
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| 2 Education and training in the cultural heritage of Indonesian batik for students of elementary, secondary, higher, vocational and polytechnic schools in collaboration with the Batik Museum of Pekalongan | Oral traditions Social practices Know-how related to traditional craftsmanship | Indonesian Batik is a traditional, hand-made, non-fading fabric, rich in intangible cultural values, passed down from generation to generation since the early nineteenth century in Java and beyond. The batik-making community noted that the younger generation's interest in batik was waning and felt the need to increase efforts to transmit the cultural heritage associated with batik to ensure its safeguarding. Thus, the main objective of the program is to raise awareness and appreciate the cultural heritage of Indonesian batik, including its history, cultural values and traditional skills among the younger generation. Law No. 20 of 2003 allows batik culture to be included in school curricula as "local content" in areas with batik cultural heritage, such as the city of Pekalongan. The Batik Museum initiated the program in 2005, in close cooperation with the city's education authorities, and it continues to expand to Pekalongan district and neighboring districts of Batang, Pemalang and Tegal. This program, whose effectiveness has been demonstrated by evaluations, constitutes an effort to (a) safeguard intangible cultural heritage by ensuring its transmission to the next generation, (b) ensure respect for intangible cultural heritage by giving Indonesian Batik a respectable place as local content in the school curricula of the various levels of formal education, starting with elementary, secondary, higher, vocational and polytechnic schools and (c) raising awareness of the importance of intangible cultural heritage at local, national and, hopefully, international. | |
Emergency backup list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Saman dance | Performing arts Oral tradition Traditions and customs Knowledge of nature Know-how related to traditional craftsmanship | The Saman dance is part of the cultural heritage of the Gayo of the province of ’Aceh, To Sumatra. Boys and young men perform it sitting on their heels or kneeling in tight rows. Each wears a black suit embroidered with colorful gayo patterns symbolizing nature and noble values. Their leader sits in the middle of the row and sings verses, mostly in the Gayo language. These verses provide advice and can be religious, romantic, or humorous in nature. Dancers clap their hands, hammer their chest and thighs, strike the floor, snap their fingers, swing and turn their body and head in changing rhythm - either in unison or out of tune to the dancers in front of them. These movements symbolize the daily life of the Gayo as well as their natural environment. Saman is performed on national and religious holidays to cement relationships between groups of villagers, who invite each other to performances. Its practice is becoming less frequent, however, and its transmission is declining. Many of the leaders who mastered Saman are now elderly and have no successors. Village games, which allow for an informal transmission of this dance, are replaced by other forms of entertainment and new games have replaced the informal transmission of this dance, and many young people leave the area to continue their studies. Lack of money is also a constraint, with the costuming and performance of the dance costing considerable. |  | |
| The noken, a knotted or woven multifunctional bag, a craft of the people of Papua | Oral traditions and expressions, including language as a vector of intangible cultural heritage Performing arts Social practices, rituals and festive events Knowledge and practices concerning nature and the universe Know-how related to traditional craftsmanship | The noken is a hand-knotted or hand-woven bag from wood fiber or leaves by communities in the Indonesian provinces of Papua and West Papua. Men and women use it to transport produce from plantations, sea or lake fishing, firewood, babies or small animals, as well as for shopping and storing belongings at home. The noken can also be worn often on traditional festivals or offered as a sign of peace. The method of making noken varies from community to community but, in general, the branches, stems or bark of small trees or shrubs are cut off and set on the fire and soaked in water. . The remaining wood fiber is dried, then turned into a thick yarn or twine that is sometimes colored with natural dyes. This string is knotted by hand to make nets of different stitches and patterns. The process requires great manual dexterity, attention and artistry, and takes several months to master. However, the number of people making and using noken is shrinking. The factors that threaten its survival are insufficient awareness, weakening of traditional transmission, decline in the number of artisans, competition from industrial bags, problems of easy and rapid supply of traditional raw materials and the evolution of the cultural values of noken. |  |
