Important, we can suppose that dancing in Kalimantan at that time was religious nod sacral in nature, and as the palaces of the kings were the centres of all cultural -activities, dancing in Kalimantan at tile beginning of tile Hindu-Indonesian period was also feudal. None of the Kalimantan kingdoms, neither Hindu-Kalimantan nor Islamic have left any products of dancing. The Kalimantan dances which are still preserved are those of the, people of the Dayak tribes living inland.

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.

The Kanoman court-bedaya different from the Surakarta and Yogyakarta bedaya. Dr, Buddingh says further that the bedaya in the palace of Kanoman was also called sinding, which comes from the word sinden, a Javanese word, meaning to sing. Bedaya in the Kanoman palace in Cirebon was also called sinding because the bedaya dancers sang as they danced. This situation, begun .

Apart from, its function as property for holy ceremonies, we can also regard the nekara as a holy musical instrument. That is to say, this musical instrument Would be sounded only in religious ceremonies to accompany religious dances that were magical and sacral in nature. The Period of Feudal Seciety can be subdivided into four shorter periods, viz. Hindu-Indonesian period, Islamic period, tile period of Western Invasion and the period of the Indonesia national Movement.

At present, neither the bedaya nor the srimpi is so popular among the majority of the people. However, they are still cultivated continuously being given new choreographies and made more dynamic. Next there emerged in Surakarta other compositions of Javanese operas, the langen asmara and pranasmara. The langen asmara, which comes from the word langen meaning entertainment and the word asmara -meaning love, is a Javanese dance-opera Surakarta style, composed by Prince Prabu Widaya, son of King Paku Buwana.

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.