Women’s Dances from the Javanese Court
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Srimpi and bedhaya, danced by women at the Javanesecourt, developed into court rituals from the end of the 16thcentury. The choreography of these dances expressesideas like the peace and order of the cosmos, the unity ofgood and evil or of God and man. These dances were firstmade available to the general public through a nationalproject called the PKJT in 1970. This project did not justrevive the dances, it also shortened and adapted them fora modern audience in the belief that the traditional danceswere boring and monotonous. The new versions are widelyknown through recordings and are taught in art colleges. However, few dancers now know the original, full-lengthversions of the dances. I discuss how the meditativequality of these dances was lost when they were simplified. New ways of explaining the dances are now needed if theyare to be understood and appreciated by modernaudiences.
Abstract
Srimpi and bedhaya, danced by women at the Javanesecourt, developed into court rituals from the end of the 16thcentury. The choreography of these dances expressesideas like the peace and order of the cosmos, the unity ofgood and evil or of God and man. These dances were firstmade available to the general public through a nationalproject called the PKJT in 1970. This project did not justrevive the dances, it also shortened and adapted them fora modern audience in the belief that the traditional danceswere boring and monotonous. The new versions are widelyknown through recordings and are taught in art colleges. However, few dancers now know the original, full-lengthversions of the dances. I discuss how the meditativequality of these dances was lost when they were simplified. New ways of explaining the dances are now needed if theyare to be understood and appreciated by modernaudiences.