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The number of Djaoeks seems, however, to be variable. I once saw twenty by the roadside gathered round the mat on which offerings were being made to a Barong. On another occasion there were only three, who sauntered in turn down the village street before ever the Wrong put in an appearance; and did a series of lovely solos, each polished face turning back before it left the dance ground and gave way to another, to flick a last strange fixed smile at the gamelan.


In the village of Taman Intaran in south Bali, which delights in mystical interpretations, the Sandarans are said to be butterflies which eat the flowers in Indra's garden, the Djaoeks being the gardeners and the Barong Indra. Certainly the Wrong seems to move amongst them in a conciliatory way, rebuking the Djaoeks for their harshness to the tender Sandarans; and their reconciliation seems to be expressed by a mingling of the two squares of dancers, who float away together before the appearance of Rangda. In another beautiful and elaborate prelude, where the abstract gardeners were replaced by a king and two court attendants, a definite drama was obviously being enacted, but even the head of the sekaa Barong had no idea what the story was. They had had it long ago from an other village, and now its meaning was lost.


At Kepaon the four Sandarans did a long and delicate dance, sinking low between bended knees or crouching on outspread feet, while their revolving fans traced a pattern on the ground. They would meet in the centre, two crouching, two continuing to wheel and poise; or one would weave a solitary design like a melody above interwoven voices. There is a strange mingling of restlessness and passivity in those immobile masks, which are never still, as the fixed sweet smile darts to and fro; now hidden by the bending flowers of the dancer's head dress, now rapidly moving above the febrile body

 

 

 

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