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They lean low, as if spying for an enemy; actually they seem to peer behind the great tree at the end of the ground, and it may be that the movement represents the search of the raja's hens for their stolen eggs. There is a slight tremor in their body, and shaking of draperies; the lance is held in the left hand, the free right hand rests on the hip. They move cautiously round three times, changing the spear to the other hand, keeping up all the time an uneasy motion between the feet. During a long stance on the left foot the left arm circles slightly, with each finger of the hand spread wide. They jump from one foot to another, hold the spear in both hands lightly, and jump backwards with both feet at once.

They wriggle to the ground, kneel, and lay their spears down before them. The next figure is definitely mimetic. They are birds, presumably the raja's hens. Their batik scarves become wings and flap as they sway to and fro, rise and sink and circle round the spears with extended arms. Shuddering their batik wings and leaning sideways, they draw gradually nearer to the mat of offerings, in front of which sits the priest.

It is perhaps the absence of an intimate relation between gamelan and dance and the freedom that every character enjoys in the disposition of his part which has led to the disintegration of Ardja. In one district in south Bali a Seloepsoepan (group) of dancers, famous for their comic impersonations and brilliant improvisations, have seen in Ardja their opportunity and abuse it to the full. They will perhaps succeed in spoiling every other form of dance-drama; for they are so beloved by the Balinese, high and low, that they do not even need to dance. Their mere presence is a symbol of entertainment. Even the highly magical, tremendous Baris dancer has become infected by this comic obsession, and it is possible to see a Baris dancer indulge in something approaching to knockabout-wrestling, laughing, talking, walking-surely the lowest depth to which a Baris dancer can sink.

 

 

 

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