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There is such a variety of dance and dramatic tradition throughout the archipelago that it is impossible to speak of a single, unified tradition. Each Indonesian ethnic and linguistic group possesses its own unique performing arts. Nevertheless, there are certain shared features among the groups, and most have several things in common.

Dance, storytelling and theatre are ubiquitous in Indonesia , elements of a cultural life that is all-encompassing and fulfilling a wide variety of sacred and secular needs. Dancers, shamans, actors, puppeteers, storytellers, poets and musicians are members of the community performing vital roles in informing, entertaining, counseling and instructing their fellows in the well-worn ways of tradition.

ARTS AND CRAFTS
Art lovers are spoilt for choice. A spectrum of styles and forms include Dayak beak-nosed masks, Balinese paintings and rustic Lombok earthenware.

As a crossroads for maritime trade, the Indonesian archipelago has for centuries been subject to foreign cultural influences, most notably Indian, Arab, Chinese and Dutch, as is evident in the art and culture of the Islamic coastal areas, the royal courts and in the architecture of ancient Hindu and Buddhist temples. In the remote interior and outer islands, many tribes lived in relative isolation until as recently as the 20 th century, producing “primitive” art that was a medium of expression of their animistic beliefs.

Indonesian creative arts is primarily seen as a manifestation of the peoples' spiritual beliefs. As a result, traditional Indonesian art is surfeit with spiritually-charged talismans. Creative arts serve to establish social and cultural identity, and fulfill social rites of passage such as birth, puberty, marriage and death.

In Central Java , the loro blonyo, painted wood statues, that represent Dewi Sri, the goddess of fertility, and her consort Sedono are placed in the home of newly-married couples. Many objects of art are produced as the bride's dowry, such as the mamuli of Sumba , a decorative metal object given by the groom's family to the bride's family in exchange for textiles and other goods. A mamuli will also be placed into the grace for wealth in the after-life.

Indonesia is a treasure trove of handcrafted items. Many artisans carry on the timeless tradition of fine craftsmanship using traditional iconography passed on from one generation to the next. In many villages and tourist destinations, the main streets and local pasar (markets) are full of artisans working at they trades in the open. Few other countries in the world offer the opportunity of direct encounters with so many craftsmen practicing skills that are centuries old.

The production process is usually divided between what is considered male and female. Male energy items use substances that are hard and strong or created with fire, as in the crafts of the ironsmith and woodcarver. Female energy is expressed through what is soft and flexible, as in the weaving of textiles, basket-work and beadwork. There is no power struggle or competition between the sexes but rather a desire to maintain the balance the two in a unified symbol of an ordered universe.