| In wayang-wong, as it evolved during the
later 9th century, the style of the dances incorporated into it is
on the whole similar to those of the wayang-topeng. But whilst no
group dances occur in the latter, case, this is the general rule in
the wayang-wong. These groups always consist either entirely of men
or entirely of women, the female parts sometimes being performed by
men. It is precisely in these group dances that the difference in
the character of female and male dancing is most apparent. Dances
of women are characterized by restraint, which makes every gesture
extremely composed and graceful. The movements are as a rule centripetal
and more involved than those in, the mens dances. In dances representing
giants or demons in particular, the movements of the men are virile
and provocative.
Only one dance has been adopted by wayang-wong from wayang-topeng;
it is called kiprah, and is the most beautiful of them all. It is,
a solo dance in which the prince expresses his joy at the victory
lie has won. In the wayang-topeng this dance can also be performed
by a woman, and has a different meaning. Here it is a love-dance:
the prince dresses himself and makes ready before meeting his beloved.
Also in the wayang-wong the dances are accompanied by gamelan-music,
with the kendang-tjiblon giving the rhythm. The gong marks the beginning
and the end of each strophe of the dance.
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