A version of the traditional Garanuhing adapted for the stage. Garanuhing can be seen in traditional parades to thank the almighty god and is typically performed by female dancers. It is performed to express gratitude and joy at the rice harvest, or at ‘Tolak Bala’ exorcism rituals to pray for the smooth recovery of people suffering from disease.\n\nThe word ‘Garanuhing’ literally means a brass bell or the sound from one. It can be spherical or bell-shaped, about 5 cm wide and hollow inside, containing a small metallic object to produce sounds. These bells are used as accessories worn on the ankles or wrists of dancers in certain regions of Indonesia. Kaliningan, a genre of music played by the Sunda people, indigenous to the west region of Java, is also referred to as Garanuhing.\n\nCharacteristics:\n∙Ritual dance performed to give thanks for the harvest or exorcise evil spirits\n∙Mainly performed by female dancers\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Maria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

Jamu is a traditional medicine used in Indonesia. It is made primarily with natural ingredients such as roots, bark, flowers, seeds, leaves, and fruits, sometimes mixed with animal products such as honey, royal jelly, milk, and egg. Jamu originates from two ancient Javanese words, djampi meaning "medicine" and "healing," and oesodo meaning "health." Jamu is used all across Indonesia but most prevalently in Java. In large cities, sweet, refreshing drinks that contain bitter jamu and honey or palm sugar are sold on the streets.

This is an original dance created in the 2000s, based on the popular Indonesian dance of 'Jaipongan' created by Bandung-born choreographer Gugum Gumbia Tritasonjaya in the 70s, which was in turn inspired by the Ketuk Tilu folk dance of the Sunda tribe in West Java. It is typically performed by a group of 4 to 8 young young women, characterized by dynamic movements of the hips, arms, shoulders, head and hands, accompanied by steps. The dancers wear brightly colored traditional Sunda attire called ‘kebaya’, specially designed to reveal their figures, and use scarves and fans as accessories. The Bajidor Kahot is an interesting example of the ups and downs of a local folk dance, once discounted in comparison to so-called aristocratic dances in the colonial era, being revived and developed into a dance of nationwide popularity, bringing all generations and groups of people together.\n\nCharacteristics:\n∙Composed of 4 to 8 female dancers\n∙Makes use of fan as accessory\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Artistic directorMaria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

Batik is a type of traditional Indonesian handcrafted textile that emerged in the Java region in the early nineteenth century and became widespread across Indonesia in the mid 1980s. Batik is made by applying dots and lines of hot wax to cloth using a copper pen or stamp and then placing the cloth in a dye bath.\n\nThe earliest reference to batik is found in the text of Siksa Kanda in ad 1517. Batik patterns are inspired by social status, local community, nature, history, and cultural heritage. Batik is an art form that promotes cultural diversity, cultural industries, and human creativity through its symbolic and cultural values.

Mughni (26), a recent graduate, is anxious about his future and feels trapped in endless worries. To calm his mind and soul, which are full of anxiety after completing his final assignment, he initially chooses to practice yoga independently. However, not satisfied with that, in mid-July 2024, Mughni participated in a Meditation program at Vippasana Dharma Java in Bogor, West Java. Although the program is scheduled for ten days, he managed to complete only five days. After returning to Yogyakarta, he continues searching for answers and meets Pak Udrek, a puppeteer and Javanese cultural practitioner who introduces him to Tapa Brata—a traditional Javanese meditation practice. Through wayang characters' stories, depicting the characters' struggles and meditations, Mughni begins to find the inner peace he had lost and learns the deep meaning of true tranquility offered by Javanese wisdom.

Topeng is a word which means ‘wooden mask’ and is also used to refer to a form of masked dance theater which is transmitted in Java and Bali. ‘Panji Topeng’ is one of the most popular Topeng performances, based on the Panji chronicles, transmitted in Java. The tales of Panji, which exist in a range of variations, have been transmitted widely around the Southeast Asian region, and have inspired a wide range of traditional Indonesian dances, including Topeng performed in Cirebon, West Java and Malang, Java.\n\nPanji Topeng is characterized by the fluid and smooth movements of dancers wearing white masks. The silent and refined movements of dancers that almost appear to be gliding rather than walking, is the pinnacle of artistry in the Panji Topeng. After the diffusion of Hinduism, epics such as the Ramayana and Mahahbarata became the theme of Topeng dances. The dancers express fables, heroic sagas and legends about kings in dance, set to the music of gamelan. The oldest record of the Topeng dance can be found in the Nāgarakrĕtāgama epic about Hayam Wuruk (1334~1389), king of Majapahit, a Hindu kingdom in the 14th century. A handwritten copy of the Nāgarakrĕtāgama (1365), stored in the National Library of Indonesia, was included the Memory of the World Register in 2013.\n\nCharacteristics:\n∙Masked dance\n∙“Nāgarakrĕtāgama” (1365), the oldest existing documentation of the Topeng dance was inscribed to the Memory of the World Register in 2013.\n\nPerformed by Dadijono Darmawan\nDirected by Dadijono Darmawan\nChoreographed by Dadijono Darmawan