Dance movements are a sequence of body movements which have the goal of controlling fluctuating emotions, so that what appears gives an impression of a continuous flow, calm, without ripples or erratic movements or even explosions. We can trace the origins of this principle of detachment to the influence of Buddhism, which is strongly rooted in the Javanese culture. The impression of tranquility in the world of wang-wung, a world without image or form, may be what is being sought. We can even find the atmosphere of the world of Arupa Dhatu at the top of the Borobudur temple, which is art from 9th century. It is no coincidence therefore that the dance regarded as sacred by the Solo palace is Bedaya Ketawang, which means the universe. The movements in this Bedaya Ketawang dance are very simple, with few ornaments, and the instrumentation for the accompanying gendhing is not as full as the gamelan used for wayang or shadow puppet theatre. The patterns of dance are simple; the movements sway smoothly, as if following the breathing pattern of the dancers.

According to the experts, the theme of Bedaya Ketawang is the marriage between the Javanese King and the Queen of the South Sea. If this is the case, I believe that this description is an indication of the mixture of Buddhist and Hindu influences. This conclusion refers to the description that the Queen of the South Sea is depicted as having two images, as extraordinarily soft and beautiful while visiting and making love with the Javanese King, and on the contrary becoming quiet frightful while in the Kingdom of the South Sea, where she is in charge of all the ghosts and demons. The ghosts, in my opinion, are really an image of Durga Umayi, who in the Hindu religion is the most important goddess, as Shakti Shiwa. In the Bedaya Ketawang this theme is presented in a poetical and abstract form, while remaining within the shadows of Arupadhatu, without a clear image. The movements performed are realized at a distance from an atmosphere of emotion. Dramatics are also applied, even when dancing a dance with a strong character, such as knights and ogres, including also the character of Rahwana in the Ramayana.

One of the last dancers to represent the concept outlined above was the S. Ngaliman. His patterns of movement, performed in an atmosphere of calm and authority involved no dramatic movement or expression, even though the character would be easily interpreted with a dramatically expressive statement.

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