The dance was the part that accompanied the development of this new centre. Evidently in the royal period previously the dance achieved the high aesthetic level. If in the environment of the dance people was spontaneous and simple, then in the environment of the dance palace had the standard, complicated, soft, and symbolic. If being inspected from the aspect of the movement, then the influence of the Indian dance that was received in the Javanese palace dance was located in the position of the hands, and in Bali was increased with the movement of the eyes. The famous dance the creation of the kings, especially in Java, was the form of the dance theatre like the puppet wong and bedhaya ketawang. Two dances were the king's Javanese heirloom. Bedhaya Ketawang was the dance that was composed by the Mataram king of the three, Sultan Agung (1613-1646) in a backgrounded manner the love myth between the Mataram king first (Panembahan Senopati) and Kangjeng Queen Kidul (the ruler of south sea/the Indonesian Ocean) (Soedarsono, 1990). This dance was put forward by nine female dancers.The Javanese DANCE
The dance was the part that accompanied the development of this new centre. Evidently in the royal period previously the dance achieved the high aesthetic level. If in the environment of the dance people was spontaneous and simple, then in the environment of the dance palace had the standard, complicated, soft, and symbolic. If being inspected from the aspect of the movement, then the influence of the Indian dance that was received in the Javanese palace dance was located in the position of the hands, and in Bali was increased with the movement of the eyes. The famous dance the creation of the kings, especially in Java, was the form of the dance theatre like the puppet wong and bedhaya ketawang. Two dances were the king's Javanese heirloom. Bedhaya Ketawang was the dance that was composed by the Mataram king of the three, Sultan Agung (1613-1646) in a backgrounded manner the love myth between the Mataram king first (Panembahan Senopati) and Kangjeng Queen Kidul (the ruler of south sea/the Indonesian Ocean) (Soedarsono, 1990). This dance was put forward by nine female dancers.
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