Bedaya and Srimpi

Bedaya and Srimpi, the Java dances, which are usually performed by girls, are feudal in spirit. Both had exixted before Surakarta and Yogyakarta styles came into existence. They probably dated back to the 16th century. In official ceremonies the bedaya dances usually carry the articles of the royal ceremony. These two dances have been preserved both in the courts of Surakarta including Mangkunegaran, and Yogyakarta including Pakualaman and have become the pride of both courts. It is noteworthy, however there is an essential difference in style between the two dances.

The bedaya is a woman's dance without a dialogue performed by nine female dancers. The background of the non-dialogue dances is a legendary event performed with such symbolic movements that the laymen can not easily understand. Examples of famous bedayas are the Bedaya Ketawang, Bedaya Semang, Bedaya Bedah Madiun and Bedaya Arjunawiwaha. The Bedaya Ketawang was created by Sulatan Agung, king of Mataram in the first of the 17th century. The Bedaya Ketawang describe the myth of the meeting between Sultan Agung and Ratu Rara Kidul or Queen of the South Sea. According to a Javanese legend, Sultan Agung, the greatest king of Mataram, united himself in a holy union with the myth cal Ratu Rara Kidul, the ruler of the South Sea. This meeting resulted in a close family bond between all the succeeding kings of Mataram and Ratu Kidul. On special occasions, such as in wars, the king of Mataram might ask the help of the invisible army of Ratu Rara Kidul.

After Mataram kingdom was divided into Surakarta and Yogyakarta, King Hamengku Buwono II created another bedaya dance resembling the Bedaya Ketawang called Bedaya Semang at the end of the 18th century. Since then, however the Yogyakarta court has no longer performed the Bedaya Ketawang.

In addition to these two bedayas, there is another bedaya dance called Bedaya Bedah Mediun, which depicts the suppression of the rebellion launched by the regent of Madiun against the king of Mataram. Still another bedaya dance is the Bedaya Arjunawiwaha picturing the marriage between Arjuna and the nymph Suprabha.

Another women's dance of the court is the srimpi dance performed by four girls. This dance describes a battle between two important female warriors, the protagonists and two other being the antagonists. There is no dialogue in this srimpi dance and the story is drawn from the Islamic period. There is srimpi dance, which depicts a battle between two princes in the Menak strory, i.e. Princess Sirtufilaleli and Princess Sudarawerti. There is also another srimpi dance, which is performed not by four but by five girls, and describes not a fight, but a love scene. Another Srimpi dance called Renggawati dance describes the way in which Princes Renggawati catches a Meliwis Putih bird, the personification of her lover, King Anglingdarma.

The srimpi dance named after gending or melody accompanying them. For instance, Srimpi Pandelori is a dance, which is accompanied by gending Pandelori.

Like in the bedaya dance, the movements in the srimpi dance are so symbolic and refined that it is difficult for the common people to understand. The number of the srimpi dancers symbolizes the four points of compass north, south, east and west.
At present, neither the bedaya nor the srimpi dance is popular among the public. But, they are still maintained especially by Surakarta and Yogyakarta choreographers.