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Or rather we should say that the Tjaks
who accompanied the Sanghyang have sacrificed nothing by their evolution
into an independent aesthetic form. It is hard to believe that the
Ketjak and the Djanger really had the same origin; one seems to have
lost its soul in a tangle of dissipating influences, while the other
has only enhanced its magic. It is impossible to write about the Ketjak
without particular mention of the great Baris dancer, Limbak, who
was responsible for the development of the most famous group of Ketjak
that of north Bedoeloe, and who still dominates and inspires it. It
is true that the creative effort which produced the astonishing ensemble
we have attempted to describe was partly inspired by certain Europeans
who felt that Limbak's great gifts as a dancer had not found their
full expression in Baris, and urged-him to make something splendid
out of the Ketjak group of his own village. But the Ketjak was of
purely Balinese inspiration; there were already two Ketjak groups
in the wards of north and south Bedoeloe, and there was a moment when
south Bedoeloe had very much the ascendancy. What south Bedoeloe and
the other well-known Katjaks of Bona now lack is precisely the su
lerb unity and sense of form which Limbak has supplied.
The libretto of both the Bedoeloe Ketjak is taken from the Ramayana.
We give here briefly the libretto of Limbak's group. The text begins
with a recital of how Rama went with Lakshmana to hunt a deer in the
forest, and of the rape of Sita by Ravana. But this, says the story
teller, is all in the past; let us rather tell of the tremendous fight
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