27Ritual Performing Artsin the Court of YogyakartaPast and PresentProf. Dr. R.M. SoedarsonoFaculty of Cultural SciencesGadjah Mada UniversityYogyakarta, IndonesiaAbstractBefore World War II, almost every important event in the palace of Yogyakarta wasconsidered ritual and many ofthese events were accompanied by music, dance andshadow puppet play. It is therefore that some gamelan ensembles, dances and shadowpuppets were and still are considered pusaka, the sacred heirlooms, which canstrengthen the legitimacy of the king. There are more than one and a half dozen sets ofgamelan ensemble and three which were and still are performed only for very importantrituals, i.e., gamelan monggang, gamelan kodhok ngorek and gamelan sekati. Due to theirsacredness they were named Kangjeng Kyai Guntur Laut, Venerable Sir Thunder of theSea, Kangjeng Kyai Mahesa Ganggang, Venerable Sir Fighting Buffalo, and KangjengKyai Guntur Madu, Venerable Sir Torrent of Honey, respectively. They were and stillare only played to celebrate very important events such as the celebration of the Sultanscoronation; to accompany the Sultans departure from the palace to attend importantceremonies; formerly to add luster to the arrival of highly honored guests; to accompanythe first official meeting of a princely couple; etc. There are three dance forms whichwere and still are used to celebrate some significant events, i.e., the female beksanbedhaya, wayang wong dance drama, and the male beksan lawung ageng. Many beksanbedhaya choreographies are owned by the palace of Yogyakarta, but only one whichwas and still is considered very sacred, is the Bedhaya Semang. It tells the story of themeeting between the third and greatest king of Mataram kingdom, Sultan Agung,and Kangjeng Ratu Kidul, Queen of the Southern Sea. It was believed that KangjengRatu Kidul promised to help Sultan Agung and his descendants when a threateningevent occued.28In previous time, beksan lawung ageng, the great lance dance, was only performedafter the main rituals when a bridal couple went to kepatihan, the prime ministersresidence, to accompany the grand reception. Wayang wong dance drama wasperformed to celebrate the last ritual of the wedding ceremony of the princely couple,held 35 days after the first ritual. Some leather puppets were also considered pusaka,the sacred heirlooms. They are still housed at the dalem Prabayeksa and are notused for performance. Each of the puppets has its own honorific name, such asKangjeng Kyai Jimat (puppet of Yudistira), Kangjeng Kyai Bayukusuma (puppet ofBima), Kangjeng Kyai Jayaningrum (puppet of Arjuna), Kangjeng Kyai Wahyu Tumurun(puppet Batara Guru), etc.Keywords: gamelan, beksan bedhaya, beksan lawung ageng, wayang wong, and sacredpuppets.IBefore World War II, almost every important event in the palace ofYogyakarta was considered ritual and many of these events wereaccompanied by performing arts. Robert Heine-Geldern observedthatsome aspects of Southeast Asian kingship which were very importantbesides the nature of the monarch, the structure of the state and the throne,werepusakas (heirlooms), which strengthened the legitimacy of themonarch.1 Pusakas the sacred objects consisted of a large collection ofspiritually powerful weapons, flags, musical instruments, leather puppets,books and dance, with all the glitter and finery suitable for a king.The court of Yogyakarta has numerous gamelan ensembles, but onlythree which are considered pusakas: the gamelan Monggang, KodhokNgorek and Sekati. Jaap Kunst categorizes these three age-old gamelansas the orchestra reserved for certain ceremonies.2 The high esteem in whichthese archaic orchestras are held is apparent from the titles precedingtheir names, namely, Kangjeng Kyai, Venerable Sir. They have beenpreserved by the Yogyakarta kraton since the Giyanti Contract in 1755,when the kingdom of Mataram was divided into two, ie., the Kasunananof Surakarta and the Kasultanan of Yogyakarta.3The gamelan Sekati in the Yogyakarta kraton is said to have been allottedto Yogyakrta kraton by the Giyanti Contract in 1755.7 The kraton hastwo gamelan Sekati.The oldest is named Kangjeng Kyai Guntur Madu,R.M. Soedarsono29Ritual Performing ArtsThe gamelan Monggang in the Yogyakarta kraton is named KangjengKyai Guntur Laut, Venerable Sir Thunder of the Sea, having a three-toned scale lima (5), nm (6) and pnunggul (1) the slendro tuning system.According to the Yogyakarta kraton gending collection, Kangjeng KyaiGuntur Laut was allotted to Yogyakarta in 1755 by the Giyanti Contract.4Kangjeng Kyai Guntur Laut used to be played exclusively on very solemnor festive occasions; for instance, to celebrate the Sultans coronation orto accompany the Sultans departure from the palace to attend importantceremonies; formerly to add luster to the arrival of highly honored guests;during the former Saturday-tournaments (watangan); to the nightly officialrepasts on the last five odd days of the month of fasting (Siyam or Ramadan),the so-called malman, which was held on the 21st, 23rd, 25th, 27th and 29th;to the first official meeting of a princely couple; to the garebegs threegreat religious celebrations -; and formerly, when a letter arrived fromone of the other Javanese rulers or from the Dutch Governor-General.5As the tournaments were usually held on a Saturday, the Monggang inthe Yogyakarta kraton is called Gangsa Setu (Saturday gamelan). Due toits solemn function, the gamelan Kangjeng Kyai Guntur Laut only playsone specific melody, called Gending Monggang. It is believed that KangjengKyai Guntur Laut was an heirloom from the House of Majapahit.The gamelan Kodhok Ngorek, The Croaking Frog, of the Yogyakartakraton is named Kangjeng Kyai Mahesa Ganggang. The name literally meansVenerable Sir Fighting Buffalo, which according the kraton gendingcollection was also allotted to Yogyakarta by the Giyanti Contract in 1755.6This orchestra also possesses a three-toned scale of the slendro tuningsystem. It has very sacred large gongs, called respectively Kangjeng KyaiMahesa Ganggang and Kangjeng Kyai Sima. It is known that for some raremelodies such as the Gending Kodhok Ngorek Ayam Sepenan, SultanHamengku Buwono I added some instruments. Gamelan Kodhok Ngorekused to be played on the occasion of the first official meeting of a princelycouple; on the Sultans birthday; at the circumcision of the Sultans sons;during the garebegs, when the gunungans, the sacred masses of food, werebrought in before being distributed among the people; during the highlightsof a wayang wong performance, accompanying the fight between twostrong warriors like Bima and Diradasura in the story of Mintaraga; inthe olden days when tigers were released in the Northern Square, afterwhich they were speared when trying to escape (Javanese: rampoganmacan), or during a fight between a tiger (Javanese: macan) and a buffalo(Javanese: kebo). The gamelan Kodhok Ngorek plays only two melodiescalled Gending Kodhok Ngorek and Gending Nalaganjur.30which literally means Venerable Sir Torrent of Honey, received by SultanHamengku Buwono I at Giyanti. The other one, manufactured in 1757 duringthe reign of the Sultan, is called Kangjeng Kyai Naga Wilaga, whichliterallywhich means Venerable Sir Fighting Snake. Both gamelan Sekatihave aseven-toned scale of the pelog tuning system. It is believed that Kangjeng KyaiGuntur Madu is an heirloom from the House of Demak. Both gamelan Sekatiof the Yogyakarta kraton are and used to be played inside the compoundof Mesjid Ageng, The Great Mosque, during the Sekaten-week. This is fromthe night of the 6th to the 12th of the third Javano-Muslim month Mulud,except on Thursday evening and Friday morning. This celebration precededthe Garebeg Mulud which is on the 12th of Mulud, commemorating the birthdayof the Prophet Muhammad. The gamelan Sekati of the Yogyakarta kratonplay a dozen pieces, such as the gending Rambu, Rangkung, Andong-Andong,and Lunggadhung.8The Yogyakarta kraton has another ancient gamelan but not as sacred asthe gamelan Monggang, Kodhok Ngorek, and Sekati, namely Kangjeng KyaiGuntur Sari. This gamelan used to be played only to accompany a particulardance called Beksan Lawung (lance dance) at the wedding ceremonies of theSultans children. This ensemble has a pelog scale system and an honoraryname which literally means The Honored Beautiful Thunder. The size of itsinstruments are much bigger and thicker and there are also more instrumentscompared to the other new ensembles, therefore it can produce a morethundering sound.Court gamelan in the Yogyakarta kraton constitutes a great contributionto the authority of the Sultan, which runs under the concept of ratu gungbinathara (godly king). Besides the above gamelan, there are thirteen newensembles which were and still are used for ordinary purposes, such as toaccompany a dance and wayang kulit (leather puppet play), and uyon-uyon(gamelan concert). The thirteen new ensembles which used to be called gamelanagng (big ensembles) are:(1)Kangjeng Kyai Marikangen in a slendro scale system;(2)Kangjeng Kyai Bremara in a pelog scale system;(3)Kangjeng Kyai Panji in a pelog scale system;(4)Kangjeng Kyai Surak in a slendro scale system;(5)Kangjeng Kyai Kancilbelik in a pelog scale system;(6)Kangjeng Kyai Harjanegara in a slendro scale system;(7)Kangjeng Kyai Harjamulya in a pelog scale system;(8)Kangjeng Kyai Medharsih in a slendro scale system;(9)Kangjeng Kyai Mikatsih in a pelog scale system;(10) Kangjeng Kyai Madumurti in a slendro scale system;(11) Kangjeng Kyai Madukusuma in a pelog scale system;(12) Kangjeng Kyai Madukentir in a slendro scale system;(13) Kangjeng Kyai Siratmadu in a pelog scale system.R.M. Soedarsono31R.M. SoedarsonoThere are three dance formswhich were and still are used to celebratesome significant court events, i.e., beksan bedhaya, wayang wong andbeksan lawung ageng. Beksan bedaya or just bedaya is compositionperformed by nine female dancers; wayang wong is a dance drama withspoken dialog; and beksan lawung ageng or just lawung ageng is a strong-style composition performed danced by 16 male dancers. It is believedthat the first bedaya and also the most sacred one was created by SultanAgung(r.1613-1645),thethirdandgreatestkingoftheMataramkingdom. It symbolized the nine human orifices, like those of the kraton(palace) which also had nine main entrances. The dance compositionwas also associated with the structure of the human body, consisting of aheart, a head, a neck, two arms, a chest, two legs, and a sex organ. Thisassociation can be identified by looking at the names of the performersand the composition of the bedaya, consisting of endhel (representing desiresemerging from the heart), batak (head with the mind or soul), jangga (neck),apit ngajeng (right arm), apit wingking (left arm), dhadha (chest), endhelwedalan ngajeng (right leg), endhel wedalan wingking (left leg), and buntil(sex organ).Bedaya was also associated with the nine human orifices:two eyes, two nostrils, two ears, one mouth, one anus, and one sex organ.The leading roles of the bedaya were batak (representing mind or soul)and endhel (desires). Kangjeng Brongtodiningrat remarks that the fightbetween endhel, the human desires, and batak, the human mind, is anatural thing in human life. He says, in this world, there are two oppositecharacters only in human life, i.e., good and bad, right and wrong, andso on. These two opposite characters always fight each other and, ofcourse, the ideal goal of man is to conquer the bad which will result in theideal life.9 Thus man as Microcosm always has two opposite characterswhich existbe in harmony. Human desires must remain in balance withthe human mind, otherwise disorder will result which will affect theMacrocosm.Prince Suryobrongto informs us that bedaya was sacred because it wasa pusaka inherited by the Sultans of Yogyakarta from the greatest ruler ofMataram, Sultan Agung. So it is not surprising that only the bedaya (andalso srimpi) used to be performed on the Bangsal Kencana, The GoldenHall. Since the bedaya was a pusaka, the dancers started their dancingfrom Bangsal Prabayeksa, in which almost all the pusakas were installed,walking (kapang-kapang) from it to the Bangsal Kencana.10 Formerly theSultan and the Dutch Governor General were seated in the western sectionof the Bangsal Kencana.II32Ritual Performing ArtsThe theme of the bedaya is love or war, for example, Bedaya BedhahMediun depicting the attack of Mataram on the regency of Madiun.Bedaya Arjunawiwaha depicts the marriage of Arjuna and Dewi Supraba;and Bedaya Sang Aji Dasanti depicts the coronation ceremony of SultanHamengku Buwono X and the appointment of Gusti Kangjeng RatuHemas as his prameswari, the main consort. During the reign of SultanHamengku Buwono X, a new theme has developed, that is, the BedayaSang Amurwabumi depicting the struggle of Sang Amurwabumi (KenArok)forthethroneofSingasarikingdomandhismarriagetoPrajnyaparamita (Ken Dedes). It was performed for the first time in thecommemoration of Sultans 13 years on the throne, which was held on17 October 2001. It was worth noting here that the abhiseka (royal title)Amurwabumi actually means Hamengku Buwono.11 It is believed thatthe oldest bedaya in the Yogyakarta kraton was Bedaya Semang,whichwas created by Kangjeng Ratu Kidul and Sultan Agung and therefore isconsidered the most sacred. Is has been long forgotten, and last year itwas reconstructed and performed to celebrate the coronation anniversaryof Sultan Hamengku Buwono X. Bedaya was also performed to celebratethe circumcision ceremony of the Sultans sons and to receive highlyhonored guests like the Dutch Governor-General.According to Babad Kraton Ngayogyakarta, the chronicle of the courtofYogyakarta,wayangwongdancedramawascreatedbySultanHamengku Buwono I in about 1756. The chronicle reads:Bedaya lan sarimpi,beksa lawung beksa sekar,beksa wayang beksa tameng,reringgitan gedhog purwa,miwah kang ringgit jalma[wayang wong],anglangkungi sukanipun,malah Sang Sri Nara Nata.(Bedaya and srimpi dances,lawung and sekar [Medura] dances,wayang and shield dances,gedhog and purwa shadow plays,and wayang wong,there were entertaining,even His Highness the King.)33R.M. SoedarsonoFrom the above information it is clear thatSultan Hamengku BuwonoI was fond of performing arts very much, including bedaya, wayang wongand lawung (lawung ageng). Wayang wong was performedfor the firsttime in 1756 to celebrate the foundation of the new kingdom or sultanate,Kasultanan Ngayogyakarta Hadiningrat. It is therefore that I assume thatwayang wong was a state ritual dance drama.12 It reached its high standardand sophistication during the reign of Sultan Hamengku Buwono VIII,who was known as the great patron of wayang wong.I suspect that the first production of the wayang wong performancewiththestoryofGandawardayamusthavebeenperformedtocommemorate the coronation day of the Sultan, and the second with thestory of Jayasenadi to celebrate the eight-year-cyclic birthday of the Sultan.When the wayang wong with the story of Gandawardaya was put onstagebySultanHamengkuBuwanaIin1756commemoratingtheestablishment of the Yogyakrta kraton, this performance was a state ritual.The performance started at dawn, when the sun began to appear in theworld and lasted until dusk. The kratons tradition of the time arrangementof the wayang wong performance starting at 6.00 in the morning waspreserved until the reign of Sultan Hamengku Buwana VIII (r. 1921-1939).This unusual time arrangement may have had a symbolic significance,i.e., to honor the appearance of the Sun, thus the god Wisnu, in the World.Another ritual aspect of wayang wongcan be seen in theprayer recitedby the pemaos kandha, the reader of the narration, near the end of theperformance.. . . sinawunga ing sih paramita, ingkang rama Kangjeng Tuwan Residen,tuwin ingkang eyang Kangjeng Tuwan Gupernur Jenderal, saha ingkangeyangKangjengRajaIngkangMahaAgung,saestululusasupeketprasobat ginunturan tresna wilasa, lusweng puja trusing kaluhuran-Dalem,dumugiyasakarsa-Dalem,harjanipunnegari-DalemingNgayogyakarta . . . .13( . . . hopefully He is supported by the love shown for Him by HisLordly Father Mr. Resident, His Lordly Grandfather Mr. Governor-General and His Lordly Grandmother Queen the Great [of theNetherlands]. It is hoped that there is a close friendship coveredwith love. Sympathy is prayed for His nobleness, His long life, Hishighly-honored country, His orders, and the well-being of Hiscountry, Ngayogyakarta . . . . )34 Sultan Hamengku Buwana VIII, known as the great patron of wayangwong, celebrated his fifty-sixth birthday (the seventh Tumbuk-Dalem cycle)with a three-day wayang wong performance of three lakons or stories, SambaSebit, Rama Nitik, and Rama Nitis. During his reign he performed bigwedding ceremonies for his children and also to celebrate the wedding ofPrincess Juliana of the Netherlands and Prince Bernhard van Lippe-Biesterfeld. These signified that besides the coronation day of the Sultan,the wedding ritual was also considered very important in the kratons lifeand used to be performed in a number of steps concluded by a grand-scale wayang wong performance. The wedding festivities in the Yogyakarta kraton were held in ten steps:(1) majang and tarub, preparing and decorating the places which wouldbe used forthe ceremonies; (2) siraman, the ceremonial bathing of thebride and bridegroom; (3) lenggahan midadareni, the ceremony held at nightbefore the main ritual, to ask for blessing from the widadaris, the heavenlynymphs; (4) panantunipun panganten putri, the formal proposal to the bride;(5) ijabipun panganten kakung, the formal wedding contract between thebridegroom and the brides father or his representative sanctioned by thepengulu, the religious official; (6) dhaupipun panganten, the official meetingbetween the bride and the bridegroom; (7) lenggahan ageng, the grandreception; (8) sepekenan, the ceremony held on the fifth day after thewedding contract was signed; (9) jangan menir, going to the permanentresidence of the couple; and (10) selapanan, the ceremony held on the thirty-fifth day after the wedding contract was signed.1Formerly, after the main rituals the bridal couple went to the kepatihan,the prime ministers residence, in a grand procession accompanied by theroyal entourages and edan-edanan, the male and female clowns. In theprocession the Sultan was represented by a group of male dancers of thebeksan lawung ageng, The Great Lance Dance, riding on horseback andprotected by the royal parasols. Along the way from the kedhaton, thepalace, to the kepatihan approximately one mile the procession wasaccompanied by the sounding of the gamelan Kangjeng Kyai Guntur Sari.Upon the arrival of the couple at the kepatihan, the grand receptionstarted accompanied by the performance of the beksan lawung ageng (andalso the bedaya). After the wedding reception, the couple stayed at thekepatihan for six days. On the fifth day after the wedding contract wassigned the couple went to the kraton to pay homage to the Sultan. Thisceremony was called sepekenan. On the sixth day after the weddingcontract the couple went to their permanent residence, and this ceremonywas called jangan menir.15 The last festivity was the selapanan, held on thethirty-fifth day after the wedding contract.35Ritual Performing ArtsThis last ceremony used to be celebrated by a full-scale wayang wongperformance.Beksan lawung ageng, which was danced in a strong male character,was a group choreography performed danced by sixteen male dancers. Itdepicted a fight between two groups of warriors equipped with lances(lawung). The sixteen dancers were categorized into five roles, i.e., fourlurah, four jajar, two botoh (leaders of the fight), four salaotho (clown-servants), and four ploncon (lance bearers). Beksan lawung ageng was alsocalled beksan Trunajaya because formerly it was danced by a group ofroyal soldiers called Trunajaya. It was believed that this dance wasassociated with fertilitywhich could be recognized in the fightingmovement when the lances were pushed against the dance floor and notagainst the body of the dancers. So, it is therefore that beksan lawung agengwas, and still is, performed by the end of the ritual ceremonies of a royalmarriage, with the hope that in the near future the couple would bearchildren.There were three important events in the Yogyakarta kraton whichwerecelebratedbyawayangkulitpurwa(leatherpuppetplay)performance. Thee were, to celebrate the birthday of the Sultan whichwas held every wiyosan dalem; to entertain participats of the watangan ortournament, and to celebrate the end of the Garebeg Mulud ritual. Formerly,the birthday of the Sultan which was held once in every 35 days of theJavanese calendar system when the day of the seven-day week systemmet with the day of the five-day week system (pasaran). Wayang kulit,which was performed by the end of the watangan or tournament whichwas held every Saturday was also called barwatang, literally means afterthe watangan tournament was over. Wayang kulit purwa, which wasperformed once a year by the end of the Garebeg Mulud ritual was calledbedhol songsong and literally means to pull the umbrellas from theNorthern Square (Alun-Alun Lor). It was a tradition that the GarebegMulud ritual celebrating the birth of the Prophet Muhammad, was alsoused by the Sultan to test the loyalty of the regents signified by the plantingof their umbrellas in the Northern Square.16 Some wayang kulit, or leatherpuppets, are classified as pusaka or heirlooms which are housed at thedalem Prabayeksa. These are not used for performance. Each puppet hasan honorific named such as Kangjeng Kyai Jimat (Yudistira), KangjengKyaiBayukusuma(Bima),KangjengKyaiJayaningrum(Arjuna),Kangjeng Kyai Wahyu Tumurun (Bathara Guru), Kangjeng Kyai Gendreh(Kresna), etc.1736R.M. SoedarsonoIIIBy looking at the above description, it was clear that almost everyimportant event in the palace was accompanied by performing arts;either gamelan music, dance, or leather puppet play. Formerlyalmost all of the performing arts functioned as state rituals signifying thegrandeur of the ratu gung binathara, the great god-king. Today some ofthe prewar performing arts are still performed. Some specific events havestill been accompanied by either gamelan music, dance, or wayang kulitpurwa. When Sultan Hamengku Buwana IX passed away in 1988, thedeparture of his body from Bangsal Kencana, The Golden Hall to theImagiri royal cemeterywas accompanied by Gamelan Kangjeng KyaiGuntur Laut. During the coronation ceremony of Sultan HamengkuBuwana X which was held on 7 March, 1989, both Kangjeng Kyai GunturLaut and Kangjeng Kyai Mahesaganggang were played after the masterof ceremonies read the letter of confirmation of the coronation. Thecoronation ceremony of Sultan Hamengku Buwana X was performedfollowing royal tradition. However, was one thing which differed fromthe ceremony before World War II, that was the pinning of the gold royalstar which in past times was done by the Dutch Governor Generalsignifying thatSultan Hamengku Buwana was still under the supremacyof the Dutch, although he still used the kingship concept, ratu gungbinathara (godly king). The gold royal star was pinned on the jacket of theSultan by the oldest pangeran, that was Gusti Bandara Pangeran HaryaPurubaya, the uncle of the Sultan.When Sultan Hamengku Buwana X held a wedding ceremony for hisoldest daughter a couple years ago, the reception was not held in thekepatihan, but in the palace. This was because after the war, there was achange of the status of the Kingdom of Yogyakarta. Since 1945 Yogyakartahas not been a kingdom in the real sense any more. It has belonged to theRepublic of Indonesia and its status was changed to become a SpecialTerritory, equivalent with a province. There is no prime minister any more,and the kepatihan has become the center of all administrative activities ofthe Province. Sultan Hamengku Buwana X, as Governor of the Provincehimself, has his office in the kepatihan. So, the grand reception of themarriage of his daughter was held in the kraton, including the performanceof bedaya and beksan lawung ageng. Some dance masters of the Yogyakartakraton had already successfully reconstructed the long forgotten BedayaSemang and it was performed for the first time to celebrate the coronationanniversary of Sultan Hamengku Buwana X last year.37Ritual Performing ArtsREFERENCES1 Robert Heine-Geldern, 1956. Conceptionss of State in Southeast Asia. Revisedversion. Ithaca, New York: Cornell University Southeast Asia Program 1.2 Jaap Kunst, 1958. Some Sociological Aspects of Music. Washington: The Libraryof Congress, 2.3See M.C. Ricklefs, 1974. Jogjakarta under Sultan Mangkubumki, 1749-1792: AHistory of the Division of Java. London: Oxford University Press,53.4 Jaap Kunst, 1973. Music in Java: Its History, Its Theory and Its Technique.Third and enlarged editon by E.L. Heins, Vol. I. The Hague: MartinusNijhoff, 258.5 See Kunst, 1958. Some Sociological Aspects of Music, 5; also see SultanHamengku Buwono X, patron and chief editor, 2002. Kraton Jogja: The Historyand Cultural Heritage. Jakarta: Karaton Ngayogyakarta Hadiningrat andIndonesia Marketing Association,187.6 Kunst,Music in Java, Vol. I, 261.7 Kunst, Music in Java, Vol. I, 266.8 Wasisto Surjodiningrat, 1971. Gamelan, Dance and Wayang in Jogjakarta.Jogjakarta: Gadjah Mada University Press,2.9 See K.P.H. Brongtodiningrat, 1979. Lelangen-Dalem Bedoyo sarta Srimpi.Yogyakarta: ASTI, 1.10 An interview with Pangeran Suryobrongto on 20 August, 1981, as quotedby Soedarsono in his Wayang Wong: The State Ritual Dance Drama in theCourt of Yogyakarta (Yogyakarta: Gadjah Mada University Press, 1984), 82.11 Hamengku Buwono X, 178-179.12 R.M. Soedarsono, 1984. Wayang Wong: The State Ritual Dance Drama in theCourt of Yogyakarta. Yogyakarta: Gadjah Mada University Press,90-96.13Serat Kandha Ringgit Purwa Lampahan Jayasemadi (dated 10 December, 1856AD). Yogyakarta kraton MS W.A1, 292-94.14See B.P.H. Poeroebojo, Rondom de Huwelijken in de Kraton te Jogjakarta,Djawa, Vol. 19 (1939), 295-329.15Poeroebojo, 298.16 See R.M. Soedarsono, 1989/ 1990. Seni Pertunjukan Jawa Tradisional danPariwisatadiDaerahIstimewaYogyakarta.Yogyakarta:DepartemenPendidikan dan Kebudayaan,73-81.17See Hamengku Buwono X, 136.38BIBLIOGRAPHYBrongtodiningrat, K.R.T., 1979. 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