function. \VC can even say further that dancing will only have the value of art if there are both dancer and audience. The dancer, as the individual who is conveying the expression of his soul by means of beautiful rhythmical movements, is the first party. While the audience, its the society enjoying and appreciating the beauty of the dancing, is the second party. The high or low aesthetic value of the dancing depends on both parties, the dancer and the audience. Consequently, it dance composition may have a local value, a national value and also an international one, Further, we can say that in dancing there has never been Part pour Part or art for the art's sake; there is only art for the sake of society. Dancing will always be presented to and be devoted to society.

this classical dancing, as tile possession of all the members of Indonesia society, have just been given a new life and a new spirit in' order to harmonize with the life and the spirit of the Pancasila society,

Indonesian classical dancing, which was inherited from the nation's ancestors and which has now been given that new life and new spirit, remains a crystallization of' art that is unimpaired and that still possess high aesthetic value. We can even say that the modern dances emerging in all parts of the country would seem to possess very low aesthetic value, if they were riot based on element, of the movements of classical dancing. It cannot, therefore, be justified in the development of Indonesian dancing towards modernization should simply ignore and reject that classical dancing.

Search This Site

Indeed, most present-day dances or new compositions of Indonesian dancing that are already modern in spirit still use classical dancing as guidance and for material.

Apart from that, it should also be noted that, although Indonesian classical dancing should still be preserved, modernization 'Must continue. Indonesian dancing, which in the past used to be restricted only to use in religious life or to recreation for exclusive groups, has 'now been raised to something belonging to the whole Indonesian nation and its 'growth is therefore a national matter. Even more than, Indonesian dancing today has become a branch of learning. This is clear from the measure taken by the Indonesian Government in establishing the Dance Conservator, of Indonesia in Yogyakarta in 1961 followed by the Dance Academy of' Indonesia in 1963. The setting up of these two State institutes of dancing education is indisputable evidence that Indonesian dancing 'has become An' object of learned study.