Story of Bali, Indonesia

Even within the ranks of the monkeys there are three styles, corresponding to the three types already mentioned. There are no umbrellas, no lances and no curtain in Wajang Wong. The characters enter without choreographic preliminaries from the far end of the dance-ground and begin the action directly, and it is no doubt the simplicity and directness of approach which makes Wajang Wong seem one of the most dramatic and easily grasped of all Balinese dance-dramas.

articles of clothing, but only on the garments worn by certain puppets in the wayang show.

Characteristic of these latter are fairly broad, parallel diagonal bands bordered by wavy lines and Alternating with narrower bands. These small bands mostly have small rhomb-shaped decorative motifs, but also other geometrical figures as well. From the wavy border there sprout forth linear patterns which cover the broad bands and alternate regularly with the others: next to the ornament which springs out from the lower wavy line and does not touch the tipper border, there is always a similar ornament. but upside down.

Though so closely related in style to Gamboeh, it is in finitely easier of approach and needs no practice to appreciate. It is true that a whole performance may consist of long discussions in flowery language, with practically no action, centering in one small episode; but there is also given in the village of Mas, which is famous for its puppet-masters and Wajang Wong dancers, a very dramatic version which combines in one performance all the main episodes of the Ramayana used in Wajang Wong, and which is extremely moving in its cumulative effect.

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