Then extremely quick, Colin McPhee compares the Balinese music to the Javanese music as day and night. He says that Javanese gamelan is soft, shockless of resunance. In strong contrast Balinese gamelan stands out dramatically in its hard metallic vitality and the almost feverish intensity with which the newer music is performed. Third, the position of the legs is usually open and low, even to the point of squatting. In some dances however, the legs are very straight.

There are a great number of dances of the common people in Central Java. Those worth mentioning are the topeng dance, the kuda-kepang dance, the tledek dance and the katoprak dance-drama. Gradually however they become more and more complete.

And anytime you need anything, just hit three times on this . My houseboy smiled, bowed and vanished behind the riot of frangipanni and hibiscus overhanging the path. THIS was a beautifully carved wooden hanging drum, known as a kul kul, depicting a fearsome fanged demon, with a long slot down the middle out of which, at a rakish angle, stuck the striker, carved, with true Balinese humor, in the shape of a penis. My taxi, which looked as if it would have difficulties even.

Like the Javanese, Sundanese, and Balinese dances, described above, sumatran dancing too has developed in the course of time, accordance with the development of the society supporting it. THE MAK INANG PULAU KAMIPAI DANCE. This dance describes the love between an. ordinary man and a nymph from heaven, the story being similar to the Jakatarub story in Java and.

Like Javanese dancing, Sundanese dancing has also passed through tile following periods of development explained in previous chapters, viz. In the Period of Primitive Society the development of dancing throughout Indonesia was the same. Dances in West Java were still magical and sacred and in accordance with the primitive social structure of the time, they must have been very primitive too. This kingdom however did not develop as rapid.