| In the reign of Sultan Agung in particular,
new compositions, instrumental as well as vocal, arose. But one must
bear in mind that there could be no question of any individual touches;
this music is a typical collective activity, the nature and purpose
of which are read6y understood by every member of the community.
The art of the dance reached its zenith in the ceremonial court
dances at the kratons of central Java. The accompaniment was provided
by the prince's pelog gamelan: a dalang gives it spoken introduction,
and then male and female choruses sing. These dancer are very ancient,
and have a special sacral significance, but nevertheless the influence
of Islam is noticeable here, too. Thus these dances are performed
during, the celebration of the garebegs. Mohammedan sacrificial
festivals. These are group-dances, in which -iris of noble birth,
but not the daughters of the prince himself, are privileged to participate.
The so-called bedaya dance is performed by nine girls at a time,
representing the nymphs of the goddess of the South Sea (by which
is meant the sea to the south of Java), whilst the so-called serimpi
dance is performed by a group of four girls, representing the heroines
of the Menak romance. Also in this case a connection with Islam
is apparent, as we shall see when we urn to literature.
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