Culture of Indonesia

Gamelan, traditional music ensemble of Javanese, Sundanese, and Balinese people of Indonesia

Indonesia is home to with those from the islands of Java, Sumatra and Bali being frequently recorded. The traditional music of central and East Java and Bali is the gamelan (traditional instruments include: gambang, bonang, saron, petik, gong, dengung, and many more).

On 29 June 1965, Koes Plus, a leading Indonesian pop group in the 1960s, 1970s and 1980s, was imprisoned in Glodok, West Jakarta, for playing Western-style music. After the resignation of President Sukarno, the law was rescinded, and in the 1970s the Glodok prison was dismantled and replaced with a large shopping mall.

Kroncong is a musical genre that uses guitars and ukulele as the main musical instruments. This genre had its roots in Portugal and was introduced by Portuguese traders in the 15th century. There is a traditional Keroncong Tugu music group in North Jakarta and other traditional Keroncong music groups in Maluku, with strong Portuguese influences. This music genre was popular in the first half of the 20th century; a contemporary form of Kroncong is called Pop Kroncong.

Angklung musical orchestra, native of West Java, received international recognition as UNESCO has listed the traditional West Java musical instrument made from bamboo in the list of intangible cultural heritage.[2][3]

The soft Sasando music from the province of East Nusa Tenggara in West Timor is completely different. Sasando uses an instrument made from a split leaf of the Lontar palm (Borassus flabellifer), which bears some resemblance to a harp.

• Some examples of Indonesian traditional music instruments
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  Angklung, traditional music instrument of Sundanese people of Indonesia
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  Talempong, traditional music instrument of Minangkabau people in West Sumatra, Indonesia
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  Sasando, traditional music instrument of Rotenese people in East Nusa Tenggara, Indonesia
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  Wooden Kolintang (Kolintang Kayu), traditional music instrument of Minahasa people in North Sulawesi, Indonesia

Topeng dance performance from Cirebon, West Java, Indonesia

Indonesian dance reflects the diversity of culture from ethnic groups that composed the nation of Indonesia. Austronesian roots and Melanesian tribal dance forms are visible, and influences ranging from neighbouring Asian countries; such as India, China, and Middle East to European western styles through colonization. Each ethnic group has its own distinct dances; makes total dances in Indonesia are more than 3000 Indonesian original dances. However, the dances of Indonesia can be divided into three eras; the Prehistoric Era, the Hindu/Buddhist Era, and the Era of Islam, and into two genres; court dance and folk dance.

During the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage convention in 29 November to 4 December 2015 in Windhoek, Namibia, UNESCO recognizes three genres of traditional dance in Bali, Indonesia, as Intangible cultural heritage.[4] The three genres includes Wali (sacred dances), Bebali (semi-sacred dances) and Balih-balihan (dances for entertainment purposes). Balinese dance has been proposed since 2011,[5] and officially recognized in 2015.

Reog Ponorogo performance at Festival Reog Nasional in Ponorogo, East Java, Indonesia

During the last few years, Saman from Nanggroe Aceh Darussalam has become rather popular and is often portrayed on TV. On November 24, 2011, UNESCO officially recognized Aceh's traditional Saman dance as an Intangible Cultural Heritage in Need of Urgent Safeguarding.[6][7][8]

There is a continuum in the traditional dances depicting episodes from the Ramayana and Mahabharata from India, ranging through Thailand, all the way to Bali. There is a marked difference, though, between the highly stylized dances of the courts of Yogyakarta and Surakarta and their popular variations. While the court dances are promoted and even performed internationally, the popular forms of dance art and drama must largely be discovered locally.

Reog Ponorogo is also a dance that originated from the district Ponorogo, East Java, which is a visualization of the legendary story Wengker kingdom and the kingdom of Kediri.

A popular line dance called Poco-poco was originated in Indonesia and also popular in Malaysia, but at early April 2011 Malaysian Islamic clerics banned the poco-poco dance for Muslims due to them believing it is traditionally a Christian dance and that its steps make the sign of the cross.[9]

• Some examples of Indonesian Traditional dance
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  Balinese Legong Kraton Dance in Bali, Indonesia
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  Javanese Bedhaya sacred dance performance in Yogyakarta, Indonesia
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  Acehnese Saman dance from Aceh, Indonesia
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  The Sundanese Jaipongan Langit Biru dance performance in West Java Pavilion, Taman Mini Indonesia Indah, Jakarta

Srikandi and Cakil in an act of the Indonesian theatre performance.

The Wayang show, the Javanese, Sundanese, and Balinese shadow puppet theatre shows display several mythological legends such as Ramayana, Mahabharata, and many more. Wayang Orang is a Javanese traditional dance drama based on wayang stories. Various Balinese dance drama also can be included within the traditional form of Indonesian drama. Another form of local drama is Javanese Ludruk and Ketoprak, Sundanese Sandiwara, and Betawi Lenong. All of these dramas incorporated humour and jest, often involving audiences in their performance.

The shadow puppets are mostly made of sheets of certain items. You can make yours using wax paper and a sheet of translucent plastic, and download templates but those people really do have the talent to craft their own and one-of-a-kind shadow puppets, which are carved one by one segment out of metal or other special materials.[10][11]

UNESCO designated Wayang the flat leather shadow puppet (wayang kulit) and the three-dimensional wooden puppet (wayang golek or wayang klitik) theatre, as a Masterpiece of the Oral and Intangible Heritage of Humanity on 7 November 2003. In return for the acknowledgement, UNESCO required Indonesians to preserve the tradition.[12]

Randai is a folk theatre tradition of the Minangkabau people of West Sumatra, usually performed for traditional ceremonies and festivals. It incorporates music, singing, dance, drama and the silat martial art, with performances often based on semi-historical Minangkabau legends and love story.

Bangsawan is a Malay folk theatre found in the province of Riau.

Modern performing art also developed in Indonesia with their distinct style of drama. Notable theatre, dance, and drama troupe such as Teater Koma are gaining popularity in Indonesia as their drama often portray social and political satires of Indonesian society.[13]

• Some examples of Indonesian Dance Drama and Theatre
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  Wayang wong performance in Taman Budaya Rahmat Saleh, Semarang, Central Java, Indonesia
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  Wayang Kulit (Leather shadow puppet) Performance in Java, Indonesia
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  Wayang Golek (3D Wooden Puppet) Performance in West Java, Indonesia
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  Randai Performance in Padang Panjang, West Sumatra, Indonesia

A demonstration of Pencak Silat, a form of martial arts.

The art of Pencak Silat was created and firstly developed in the islands of Java and Sumatra.[14] It is an art for survival and practised throughout the Indonesian archipelago. Centuries of tribal wars in Indonesian history had shaped silat as it was used by the ancient warriors of Indonesia. Silat was used to determine the rank and position of warriors in old Indonesian kingdoms.

Pencak Silat is recognized as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO (United Nations Educational, Scientific and Cultural Organization) on December 12th, 2019.[15]

Contacts with Indians and Chinese has further enriched silat. Silat reached areas beyond Indonesia mainly through the diaspora of Indonesian people. People from various regions like Aceh, Minangkabau, Riau, Bugis, Makassar, Java, Banjar, etc. moved into and settled in Malay Peninsula and other islands. They brought silat and passed it down to their descendants. The Indonesian of half-Dutch descent are also credited as the first to have brought the art into Europe.

Silat was used by Indonesian independence fighters during their struggle against the Dutch colonial rule. Unfortunately, after Indonesia achieving their independence, silat became less popular among Indonesian youth compare to foreign martial arts like Karate and Taekwondo. This probably because silat was not taught openly and only passed down among blood relatives, the other reason is the lack of media portrayal of the art.

Efforts have been made to introduce and reintroduce the beauty of silat to Indonesian youth and the world. Exhibitions and promotions by individuals as well as state-sponsored groups helped the growing of silat's popularity, particularly in Europe and United States. Indonesian 2009 Silat movie Merantau is one of Indonesian efforts to introduce silat to the international scene.

Another martial art from Indonesia is Tarung Derajat. It is a modern combat system created by Haji Ahmad Drajat based on his experience as a street fighter. Tarung Drajat has been acknowledged as a national sport by KONI in 1998 and is now used by Indonesian Army as part of their basic training.[16]

In Eastern Indonesia, there is a type of martial art hitting with a whip or stick. Caci is a form of fighting with a whip or stick. It appears to be indigenous to Flores in East Nusa Tenggara, but it is also practised in Bali and Lombok. There are two types of caci: with a whip (tereng or agang) or a stick (agang). The whip may be either long or short. The short whip corresponds to the cambuk of Java and measures 3 feet in length. The long whip is 5–6 feet long and made from palm stems tied together with either rattan or strips of water buffalo hide. The stick is an undecorated piece of hardwood measuring 1-1.5 yards long and 2 inches in diameter a caci match, the two fighters take turns alternately attacking and defending, a caci whip fight is performed by two contenders whom each opponent usually came from different villages. During early in the match, the contenders might go back and forth in prancing manners, thus jiggling and ringings the bells attached on his hips and ankles. This was meant as a provocation, initiated some moves to taunt each opponent and enliven the battle. While in the background musicians beat the drums and gongs.

• Some examples of Martial arts in Indonesia
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  Sasak Peresean from Lombok, West Nusa Tenggara, Indonesia
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  Pasola from Sumba, East Nusa Tenggara, Indonesia
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  Petarung in Tarung Derajat from West Java, Indonesia
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  Caci (fighting) is one of the traditional martial arts of the Manggarai community in Flores Island, East Nusa Tenggara

Lubang Jeriji Saléh cave, one of the oldest known figurative paintings in the world, a depiction of a bull, has been dated to be 40,000 years old, East Kalimantan, Indonesia

What Indonesian painting before the 19th century are mostly restricted to the decorative arts, considered to be a religious and spiritual activity, comparable to the pre-1400 European art. Artists' names are anonymous since the individual human creator was seen as far less important than their creation to honour the deities or spirits. Some examples are the Kenyah decorative art, based on endemic natural motifs such as ferns and hornbills, found decorating the walls of Kenyah longhouses. Other notable traditional art is the geometric Toraja wood carvings. Balinese paintings are initially the narrative images to depict scenes of Balinese legends and religious scripts. The classical Balinese paintings are often decorating the lontar manuscripts and also the ceilings of temples pavilion.

The oldest known cave paintings are more than 44,000 years old (art of the Upper Paleolithic), found in both the Franco-Cantabrian region in western Europe, and in the caves in the district of Maros (Sulawesi, Indonesia). The oldest type of cave paintings are hand stencils and simple geometric shapes; the oldest undisputed examples of figurative cave paintings are somewhat younger, close to 35,000 years old.[17]

Pettakere Cave "Hand print paintings", The oldest known cave paintings are more than 44,000 years old, Maros, South Sulawesi, Indonesia

In 2018, scientists reported the discovery of the then-oldest known figurative art painting, over 40,000 (perhaps as old as 52,000) years old, of an unknown animal, in the cave of Lubang Jeriji Saléh on the Indonesian island of Borneo. In December 2019, however, figurative cave paintings depicting pig hunting in the Maros-Pangkep karst in Sulawesi were estimated to be even older, at at least 43,900 years old. The finding was noted to be “the oldest pictorial record of storytelling and the earliest figurative artwork in the world”.[18][19]

Under the influence of the Dutch colonial power, a trend toward Western-style painting emerged in the 19th century. In the Netherlands, the term "Indonesian Painting" is applied to the paintings produced by Dutch or other foreign artists who lived and worked in the former Netherlands-Indies. The most famous indigenous 19th-century Indonesian painter is Raden Saleh (1807–1877), the first indigenous artist to study in Europe. His art is heavily influenced by Romanticism.[20] In the 1920s Walter Spies settled in Bali, he is often credited with attracting the attention of Western cultural figures to Balinese culture and art. His works have somehow influenced Balinese artists and painters. Today Bali has one of the most vivid and richest painting traditions in Indonesia.

The 1920s to 1940s were a time of growing nationalism in Indonesia. The previous period of romanticism movement was not seen as a purely Indonesian movement and did not develop. Painters began to see the natural world for inspiration. Some examples of Indonesian painter during this period are the Balinese Ida Bagus Made and the realist Basuki Abdullah. The Indonesian Painters Association (Persatuan Ahli-Ahli Gambar Indonesia or PERSAGI, 1938–1942) was formed during this period. PERSAGI established a contemporary art philosophy that saw artworks as reflections of the artist's individual or personal view as well as an expression of national cultural thoughts.

From the 1940s on, artists started to mix Western techniques with Southeast Asian imagery and content. Painters that rooted in the revolutionary movement of the World War and the post-World War period started to appear during this period, such as Sudjojono, Affandi, and Hendra.[21]

During the 1960s, new elements were added when abstract expressionism and Islamic art began to be absorbed by the art community. Also during this period, group of painters that are more concerned about the reality of Indonesian society began to appear, taking inspiration from the social problem such as the division between the rich and the poor, pollution, and deforestation. The national identity of Indonesia was stressed by these painters through the use of a realistic, documentary style. During the Sukarno period, this socially-engaged art was officially promoted, but after 1965 it lost popularity due to its presumed communist tendencies.[22]

Three art academies offer extensive formal training in visual art: Bandung Institute of Technology founded in 1947; the Akademi Seni Rupa Indonesia (Indonesian Fine Arts Academy) or ASRI, now known as ISI, in Yogyakarta was inaugurated in 1950; and the Institut Kesenian Jakarta (Jakarta Arts Institute) or IKJ, was opened in 1970.

• Some examples of Indonesian paintings
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  Pre-1920 Kamasan Palindon Painting detail, an example of Kamasan-style classical painting
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  "The Arrest of Pangeran Diponegoro", painted by Raden Saleh, 1857, Merdeka Palace Museum, Jakarta
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  "A landscape in the Dutch East Indies" (Now Indonesia), painted by Raden Saleh (circa 1811 –1880)
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  Mask Dancer, A.A. Gde Anom Sukawati (b. 1966), Acrylic on canvas

Indonesian wood carving in Tong Tong Fair on the Malieveld in the Hague, Netherland

The art of wood carving is quite well-developed in Indonesia. Other than tribal art woodcarvings of Asmat, Batak, Dayak, Nias, and Toraja area is well known for its refined wood carving culture; they are Jepara in Central Java and Bali. Mas village near Ubud in Bali is renowned for their wood carving art. Balinese woodcarving today has a sustained tourist market in Bali.

Asmat art consists of elaborate stylized wood carvings such as the bisj pole and is designed to honour ancestors. Many Asmat artefacts have been collected by the world's museums, among the most notable of which are those found in the Michael C. Rockefeller Collection at the Metropolitan Museum of Art in New York City and the Tropenmuseum in Amsterdam. Bisj poles are carved by Asmat religious carvers (wow-ipits) after a member of their tribe or community had been killed and headhunted by an enemy tribe. Carved out of a single piece of a wild mangrove tree, Bisj poles can reach heights of up to 25 feet (7.62 m). Their carvings depict human figures standing on top of each other, as well as animal figures, phallic symbols, and carvings in the shape of a canoe prow. The Asmat participated in headhunting raids and cannibalism as rituals, many rituals involved the Bisj poles, including dancing, masquerading, singing and headhunting—all performed by men. Bisj poles often had a receptacle at the base that was meant to hold the heads of enemies taken on headhunting missions. The phallic symbols represented the strength and virility of the community's ancestors as well as of the warriors going on the headhunting mission. Canoe prow symbols represented a metaphorical boat that would take the deceased spirits away to the afterlife. The human figures would represent deceased ancestors.

Mask (Hudoq), Late 19th–early 20th century Kenyah Wood, Borneo, Indonesia

The people of Nias placed great value on wooden figures or adu. The sole purpose of the Nias figures was to fulfil ritual needs, whether it is to ensure wealth or to perform the specific beneficial rite. Niassan figures vary in size, from as small as 20 centimetres (7.9 in) in height to more than 2 metres (6.6 ft) tall. When an elderly person died, the family would make a wooden statue known as adu zatua. The shape of the wooden statue reflects the status of the person who used them: the more powerful the owner, the more impressive the statue will be made. Missionary work in 1930 had recorded the removal of 'over 2000 "idols" from a house of a new northern convert.' Some missionary even recorded collapsing houses under the weight of these ancestor figures. Small adu zatua were bound together horizontally using rattan and pegs.

Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation. Each carving receives a special name, and common motifs are animals and plants that symbolise some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolise fertility. In some areas, noble elders claim these symbols refer to the strength of a noble family, but not everyone agrees. Other Torajans carve wood is Tau tau, Tau tau is a type of effigy made of wood or bamboo. Torajans believe that the dead can take their possessions with them to the afterlife, the effigies are usually equipped with small possessions.

Traditionally, the effigies were simply carved, only to show the gender of the deceased. However, they have become more and more elaborate, actually attempting to imitate the likeness of the deceased. Nowadays, Tau tau has a photographic likeness to the people they represent. They are carved with wrinkles and carry items like Bibles. The types of wood used for the effigies and what they are clothed in also reflect the status and wealth of the deceased. The tau tau is representatives of the deceased, ever-guarding the tombs and ever-protecting the living. The types of wood used for the effigies and what they are clothed in also reflect the status and wealth of the deceased. Tau tau of the wealthy would generally be made of wood from the jackfruit tree. They are usually permanent statues that can be found standing at the entrance of tombs, which are carved out of rock faces of Toraja.

• Some examples of Indonesian wood carving for rituals
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  The Nias adu zatua (wooden ancestor statues)
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  Toraja stone-carved burial site. Tau tau (wooden statue of the deceased) were put in the cave, looking out over the land, in South Sulawesi
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  A Pair of Loro Blonyo from Java
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  Si Gale-gale of Batak people of North Sumatra, Indonesia

The deified statue of King Airlangga depicted as Vishnu mounting Garuda, found in Java.

Indonesia has a long history of stone, bronze and Iron Ages arts. The megalithic sculptures can be found in numerous archaeological sites in Sumatra, Java to Sulawesi. The native Indonesians tribes have their own distinct tribal sculpture styles, usually created to depict ancestors, deities and animals. The stone sculpture artform particularly flourished in 8th-to-10th-century Java and Bali, which demonstrate the influences of Hindu-Buddhist culture, both as stand-alone works of art and also incorporated into temples. Most notable sculpture of classical Hindu-Buddhist era of Indonesia are the hundreds of meters of relief and hundreds of stone buddhas at the temple of Borobudur in central Java. Approximately two miles of exquisite relief sculpture tell the story of the life of Buddha and illustrate his teachings. The temple was originally home to 504 statues of the seated Buddha. This site, as with others in central Java, show a clear Indian influence.

Dwarapala Statue is a door or gate guardian, usually armed with a weapon, Malang, East Java

The examples of notable Indonesian Hindu-Buddhist sculptures are; the statues of Hindu deities; Shiva, Vishnu, Brahma, Durga, Ganesha and Agastya enthroned in rooms of Prambanan temples, the Vishnu mounting Garuda statue of king Airlangga, the exquisite statue of Eastern Javanese Prajnaparamita and 3.7 meters tall Dvarapala dated from Singhasari period, and also the grand statue of Bhairava Adityawarman discovered in Sumatra. Today, the Hindu-Buddhist style stone sculptures are reproduced in villages in Muntilan near Borobudur also in Trowulan the former capital site of Majapahit in East Java, and Bali, and sold as garden or pool ornament statues for homes, offices and hotels.

The walls of candi also often displayed bas-reliefs, either serve as decorative elements as well as to convey religious symbolic meanings; through describing narrative bas-reliefs. The most exquisite of the temple bas-reliefs can be found in Hindu and Buddhist temples. The first four terraces of Borobudur walls are showcases for bas-relief sculptures. These are exquisite, considered to be the most elegant and graceful in the ancient Buddhist world.[23] The Buddhist scriptures describes as bas-reliefs in Borobudur such as Karmavibhangga (the law of karma), Lalitavistara (the birth of Buddha), Jataka, Avadana and Gandavyuha. While in Prambanan the Hindu scriptures is describes in its bas-relief panels; the Ramayana and Bhagavata Purana (popularly known as Krishnayana). The Buddhist scriptures describes as bas-reliefs in Borobudur such as Karmavibhangga (the law of karma), Lalitavistara (the birth of Buddha), Jataka, Avadana and Gandavyuha. While in Prambanan the Hindu scriptures is describes in its bas-relief panels; the Ramayana and Bhagavata Purana (popularly known as Krishnayana).

The bas-reliefs in Borobudur depicted many scenes of daily life in 8th-century ancient Java, from the courtly palace life, hermit in the forest, to those of commoners in the village. It also depicted a temple, marketplace, various flora and fauna, and also native vernacular architecture. People depicted here are the images of king, queen, princes, noblemen, courtier, soldier, servant, commoners, priest and hermit. The reliefs also depicted mythical spiritual beings in Buddhist beliefs such as asuras, gods, boddhisattvas, kinnaras, gandharvas and apsaras. The images depicted on bas-relief often served as a reference for historians to research for certain subjects, such as the study of architecture, weaponry, economy, fashion, and also the mode of transportation of 8th-century Maritime Southeast Asia. One of the famous renderings of an 8th-century Southeast Asian double outrigger ship is Borobudur Ship.

Today in Indonesia, the richest, most elaborate and vivid wooden sculpture and wood carving traditions can be found in Bali and Jepara, Central Java. Balinese and Javanese handicrafts such as sculptures, masks, and other carving artworks are popular souvenirs for tourist that have visited Indonesia. On the other hand, the Jepara wood carving is famous for its elaborately carved wooden furniture, folding screens also pelaminan gebyok (wedding throne with carved background).

• Some examples of Indonesian Scultures
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  Arjuna wijaya statue in Jakarta
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  Timor statue in Padadita Beach, Waingapu, East Sumba, East Nusa Tenggara
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  Bas relief sculpture from the Borobudur temple
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  Head of Garuda in Garuda Wisnu Kencana Cultural Park in Bali

The batik shirt, as worn by the 7th Indonesian President Joko Widodo and the 6th Indonesian President Susilo Bambang Yudhoyono.

Batik is a cloth that is traditionally made using a manual wax-resist dyeing technique to form intricate patterns. Traditionally batik cloth is a large piece of intricately decorated cloth used by Javanese women as kemben or torso wrap. Batik cloth was wrapped around the hips with multiple folds in front called wiron, while the upper torso wear kebaya fitted dress. Traditionally for men, the edge of batik cloth also can be sewn together to make a tubular cloth as sarong, or wrapped around hips as kain in a fashion similar to women's. Later for men, the batik cloth also is sewn and made into contemporary batik men's shirt. Today, Batik shirts, which are commonly worn by men in Indonesia (especially in Java), are usually worn during formal occasions; such as attending weddings, traditional ceremonies, formal meetings, communal gatherings, etc. Batik is recognized as one of the important identity of Indonesian culture. UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009.[37]

Native Indonesian women wearing kebaya.

The kebaya is the national costume of women from Indonesia, although it is more accurately endemic to the Javanese, Sundanese and Balinese peoples. It is sometimes made from sheer material such as silk, thin cotton or semi-transparent nylon or polyester, adorned with brocade or floral pattern embroidery. Kebaya usually worn with a sarong or batik kain panjang, or other traditional woven garment such as ikat, songket with a colorful motif. Kebaya is usually worn during official national events by Indonesian first lady, wives of Indonesian diplomats, and Indonesian ladies. It also worn by Indonesian ladies attending traditional ceremonies and weddings. During Balinese traditional ceremonies, Balinese women wore colorful Balinese style kebaya with songket Bali.

The Peci, also known as songkok or kopiah, is a cap traditionally worn by male Muslims in the Indonesian archipelago. It is quite similar to the Turkish-Egyptian fez. In Indonesia, the black velvet peci has become the national headdress with nationalist connotations made popular by Sukarno.[38] A number of Indonesian nationalist movement activists in the early 20th century, wore a peci to convey their nationalistic sentiments and to demonstrate their Indonesian identity. Indonesian male presidents always wear a peci as part of their official presidential attire. Since then, the black velvet peci is approved to be the national head-dress for Indonesian men. It is worn all over Indonesia, especially by government officials and men (usually Muslim men) throughout the country. The peci is usually worn with batik shirt or western-style suits by men in Indonesia for those attending formal occasions.

• Some Indonesian Traditional Fabrics
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  Batik
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  Songket
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  Ikat
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  Ulos

There is a long tradition in Indonesia, particularly among ethnically Malay populations, of extemporary, interactive, oral composition of poetry. These poems are referred to as pantun. Contemporary Indonesian poets include among others, Sutardji Calzoum Bachri, Rendra, Taufiq Ismail, Afrizal Malna, Binhad Nurrohmat, Joko Pinurbo, Sapardi Djoko Damono. In written poetry and prose, a number of traditional forms dominate, mainly: syair (traditional narrative poetry), gurindam (brief aphorisms), hikayat (stories, fairy-tales, animal fables, chronicles), babad (histories or chronicles).

On 15 December 2020 the Pantun is recognized as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO (United Nations Educational, Scientific and Cultural Organization).

The largest chain of cinemas in Indonesia is 21 Cineplex, which has cinemas spread throughout twenty-four cities on the major islands of Indonesia. Many smaller independent cinemas also exist.

In the 1980s, the film industry in Indonesia was at its peak, and dominated the cinemas in Indonesia with movies that have retained a high reputation, such as Catatan Si Boy and Blok M and actors like Onky Alexander, Meriam Bellina, Nike Ardilla and Paramitha Rusady.[43] The film Tjoet Nja' Dhien (1988) winning 9 Citra Awards at the 1988 Indonesian Film Festival.[44] It was also the first Indonesian movie chosen for screening at the Cannes Film Festival,[44] where it was awarded Best International Film in 1989.[45] However, the film industry failed to continue its successes in the 1990s, when the number of movies produced decreased significantly, from 115 movies in 1990 to just 37 in 1993.[46] As a result, most movies produced in the 1990s contained adult themes. The industry started to recover in the late 1990s, with the rise of independent directors and many new movies produced, such as Garin Nugroho's Cinta dalam Sepotong Roti, Riri Riza and Mira Lesmana's Petualangan Sherina and Arisan! by Nia Dinata.[43] Another form of recovery is the re-establishment of the Indonesian Film Festival (FFI), inactive for twelve years, and the creation of the Jakarta International Film Festival. Daun di Atas Bantal (1998) received Asia Pacific Film Festival in Taipei.[47]

The state radio network Radio Republik Indonesia (RRI) was founded in 1945. It consists of a network of regional stations located in all thirty-three provinces of the archipelago. In most cities and large towns there are also many commercial stations. Since 2006, several digital radio stations have been based in Jakarta and Surabaya, using Digital Audio Broadcasting (DAB) and Hybrid HD-Radio.[48][49][50]