\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.
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,
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.
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.
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.