| The dances are stylized down to the last
detail: each single movement has its particular significance, each
gesture being performed with a wonderful repose and with feminine
charia cultivated to perfection. In no other form of art is the unique
Mohammedan civilization of Mataram and the subsequent 'Principalities'
so evident as in these ceremonial dances. They exhibit in most accomplished
perfection courtly dignity complete self-control and devotion to symbolical
detail.
Of equal distinction and beauty are the wayang dances, which occur
in the wayang-purwa and the late- wayang-wong.
In both these types of wayang show the puppets are replaced human
performers, whilst tile masked actors in the wayang-topeng do not
speak and the dalang has a task similar to that in the way purwa,
in the wayarg-wong. on the other hand, the players them, selves.
who are not masked speak the words, and the dalang is not so important.
The masked dances from the wayang-topeng are clearly influenced
by Hinduism, but in their conception are linked with the primitive
masked dances in Java. The ceremonial, and frequently magic, character
survived. Hindu influence is primarily evident in certain stylistic
elements in the dance. Thus the symbolic gesture of the hand, mudra
is taken |
