The History of Java, v. 1-2

by Sir Thomas Stamford Raffles

Another representation of this nature is that of the adventures of Ménak Jing'ga and Dámar Wúlan, which are exhibited, but not very commonly, by means of drawings on folded leaves of strong paper, while the Dálang repeats the story and furnishes dialogue to the characters. This is termed wáyang béber. An entertainment of a similar description, though not accompanied by the exhibition of figures, is termed trébang: it was invented in the time of the kingdom of Démak. The story is taken from the Arabic account of Begínda Ambia, which being rendered into Javan, is repeated by the Dálang, who with a small drum before him, and accompanied by the music of the gámelun, gives spirit to the different parts, by beating time with his hand, and varying the strength of the sound or quickness of time according to the subject. These two latter are of comparatively modern invention, and not much esteemed.

The dance with the Javans, as with Asiatics in general, consists in graceful attitudes of the body, and in the slow movement of the arms and legs, particularly of the former, even to the distinct motion of the hand and fingers.

Of the dancing girls who exhibit at public entertainments, the first in rank and the most skilful in their profession are the concubines of the sovereign and of the hereditary prince. They alone are allowed to perform the s'rímpi, a figure dance by four persons, distinguished by an unusual degree of grace and decorum.

The dancers are decorated according to the ancient costume of the country, and nearly in the same manner as a modern bride. The tápih, or petticoat, is of silk of different colours, often green stamped with golden flowers, and hanging in the most graceful manner, a part of it falling between the feet and serving as a short train, which in the course of the dance is frequently thrown aside by a quicker motion of the foot than ordinary. The údat, or waistband, is of the chíndi pattern; and on these occasions is worn the mer, or cestus, composed of plates of gold highly ornamented with diamonds at the clasp in front. The body is enclosed in a kind of corset (pemákak) passing above the bosom and under the arms, and confining the waist in the narrowest possible limits. The ends of the sémbong, or sash, fall gracefully on each side on the back of the hip and reach the ground. Sometimes, indeed, this graceful appendage to the dress is brought from the back to a point between the breasts, whence being fastened in a rosette, the ends flow towards the ground in front of the person, the usual bending attitude during the dance causing them to hang distinct from the rest of the apparel. The triple necklace, richly chased armlets, bracelets, and tiara, are of gold, studded with precious stones; and the hair is gracefully ornamented with buds of white and sweet-scented flowers. On their fingers they generally display brilliant rings, and the face, neck, shoulders, and arms, which remain uncovered, are tinged by a delicate shade of yellow powder. The music is slow and solemn, and the performance is on the gámelan saléndro; verses from the romances of Pánji, descriptive of the attire and beauty of the wives and concubines of that hero, being chaunted as a prelude to the entertainment and during its continuance. On occasions when the s'rímpi are exhibited before Europeans at the Residency house, they are brought with great care, and under a guard, from the kráton, in a large enclosed palanquin, or rather box, borne on men's shoulders. When they reach the door of the residency, they glide behind the prince into the chamber appropriated for his accommodation, and when they come forth for the dance, seat themselves on the ground in front of him. On his intimating that they should commence, they slowly, and to the sound of music, close their hands, and raising them to the forehead, bend in reverential awe, and gradually extending their arms and swaying in unison with each other from side to side, assume an erect posture. The dancers seldom exceed the age of fourteen or fifteen. The birth of a child generally puts an end to their performances, and removes them from the profession. They are the choicest beauties of the country, selected for the royal bed. Throughout the whole performance their eyes are directed modestly to the ground, and their body and limbs are by slow movements thrown into every graceful attitude that the most flexible form is capable of exhibiting. In the figure of the dance they occasionally approach and recede from each other, and sometimes cross to the opposite side. It frequently happens, that the delicate corset by falling too low, exposes more of the body than is considered correct. On such occasions, one of the trusty matrons always in attendance raises it again, without interrupting the dance or embarrassing the movements of the dancer. At the conclusion of the dance they gradually place themselves on the ground, in the same manner as before its commencement, and after closing their hands, and raising them to the forehead in token of respect, remain seated with a downcast look and captivating modesty, until the signal is given to the matrons to relieve them by others, when they again glide into the same apartment.

The bedáya, who perform a figure dance of eight persons, are in some respect to the nobles what the s'rímpi are to the sovereign: but, at present, few of the nobles can afford to maintain a sufficient number of youthful concubines to compose this dance; it is frequently therefore performed by boys trained for the purpose. They are dressed nearly in the same manner as the s'rímpi, though not so expensively. The action moves to the same music and song.

But the common dancing girls of the country, who appear to approach more nearly to the usual dancing girls of Western India, are called róng'geng, and are generally of easy virtue. They make a profession of their art, and hire themselves to perform on particular occasions, for the amusement of the chiefs and of the public. Though to be found in every principal town, their performance is most highly esteemed in the western, and particularly among the rude mountaineers of the Súnda districts, where the superior graces of the bedáya are unknown. Here they are constantly engaged on every occasion of festivity, and the regents frequently keep the most accomplished in their service for years. Their conduct is generally so incorrect, as to render the title of róng'geng and prostitute synonymous; but it not unfrequently happens, that after amassing considerable wealth in the profession, they obtain, on account of their fortune, the hand of some petty chief. In this case, they generally, after a few years retirement and domestic quiet, avail themselves of the facility of a divorce, and repudiating their husbands, return to their former habits. The róng'gengs accompany the dance with singing, the words being generally extempore to the music of the gámelan saléndro and pélog. Their dress is coarse, but in other respects resembles that of the more select dancers. They do not, however, wear any tiara on the head, nor armlets; bracelets are only worn occasionally. Their hair is dressed after a peculiar fashion, abundantly oiled, and ornamented with flowers of various kinds. They sometimes exhibit singly and sometimes in groups, following and approaching each other, or receding at pleasure. They perform at any time of the day, but chiefly in the evening, and endeavour to exhibit their best attitudes round a lamp which hangs suspended. Generally speaking, both their action and their song are rude and awkward, and on that account often disgusting to Europeans, although there are some among them whose performance does not deserve to be so considered. Their action is usually distorted, their greatest excellence seeming to consist in bending the arms and hands back in an unnatural manner, and giving one or two of the fingers a tremulous motion. The voice, though sometimes harmonious, is often loud, dissonant, and harsh to an European ear. They generally have a handkerchief thrown over the shoulder, and usually a fan in their hand, which occasionally serves to conceal one half of the face, not so much out of any affectation of bashfulness, as, in the manner of a huntsman, to assist the louder tones of the voice. At other times it is employed to strike against the back of the arm, so as to give a greater effect to different parts of the action and music. Generally speaking, the róng'gengs do not descend to the performance of those disgusting and disgraceful postures and motions, which are stated to be so frequent on the continent of India, but they are not free from the charge of impropriety in this respect. Their song, though little esteemed and less understood by Europeans, sometimes possesses much humour and drollery; and in adapting their motions to the language, they frequently excite loud bursts of laughter, and obtain great applause from the native audience.

The nobles of the highest rank are accustomed, on particular occasions of festivity, to join in the dance with a róng'geng. To dance gracefully, is an accomplishment expected in every Javan of rank; and in the western districts, particularly, all the chiefs are, on days of festivity, accustomed to join in the exercise, one after the other, commencing with the youngest. On these occasions, the nobles of the highest class vie with each other in pointing the toe with grace, in exhibiting elegance of movement, in displaying adroitness by intricate evolutions, or beauty of person by an ingenious management of attitude. So devoted are they to this exercise, that although their wives and daughters never dance, the happiness of a festive occasion is considered incomplete, where an opportunity is not afforded to the chiefs themselves of introducing their favourite amusement. In the Súnda districts, there are some individuals distinguished as regular posture or dancing-masters.

It is not unusual for the performances of the róng'gengs to be varied by the action of a fool or buffoon. Mimicry is a favourite amusement, and beside imitating, in a ludicrous manner, the actions of the róng'gengs, there are not wanting performers of this description, who occasionally direct their wit against all classes of society, and evince a considerable degree of low humour.

These are the only public exhibitions of the female sex; but the posture dances by the men are numerous, and contribute to the state of the sovereigns and chiefs. Among these, the Gámbuh, with a shield on one arm, gracefully raises the dódot (or petticoat) with the other hand; the Niutra, having a bow and arrow in the hand, goes through the motion of its exercise, stringing and unstringing it to the sound of the gámelan. Both throw their limbs and body into the most graceful postures, as they slowly move in procession before the chiefs, or are arranged on the side of the passage through which he is to pass. Both the Gámbuh and Niutra are naked from the waist upwards, while the dódot hangs to the ground on one side in the manner of full dress, shewing the knee on the other. Their bodies are generally covered with yellow powder, and from round their ears hang suspended in front, strings of the young meláti flowers.

The Gámbuh are occasionally employed to exhibit before the prince, when with a krís in their right hand and a shield on their left arm, they go through all their evolutions to the sound of music.