Story of Bali, Indonesia

This does not mean that the pattern of the play is always absolutely uniform. There are three kinds of possible entries, of which one or two may be repeated in the course of the play, and if you shuffle all these together you obviously get a great variety of possible combinations.
We will describe each in turn. But first let us look at the stage. Gamboeh is played in a large palm-covered rectangular space with two umbrellas at the end where the dancers enter, and two lances at the opposite end, where they sit when not in action.' The gamelan, consisting of two or more big flutes, a rebab, two small drums, a small gong, a series of egg-shaped cymbals, and a variety of small metals peculiar to Gamboeh, sits in the far left-hand corner

A djoeroe tandak (reciter) and a choir of singers sit among the instruments, and with the flutes and strings play an exceedingly important part. The lance-bearers indicate by signs to the Samdan which will be the first entry; for every character, both now and throughout the play, has his appropriate melody.
If a king is-about to appear the first characters to enter are two fantastic warriors called Demang and Temoenggoeng. They enter one on each side of the patih, who lurks, a shadowy figure, just outside the state umbrellas, almost as if the drama were trying shyly at this early stage to push its way through into the dance. Demang and Temoenggoeng both wear close-fitting wide gold headdresses, with cap-like crowns, to simulate one a bald head, the other white hair

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