Soon after I got full by those foods, the event finally started. The atmosphere suddenly changed into more contemplative as the gamelan was played elegantly. There were seven beautiful dancers opened the event by performing Gambyong Pareanom dance.  As portrayed by its name "pareanom", the dancers wore the outfit with nuance of green and yellow. They looked glamour and graceful in presenting the dance which was popularized during the era of King Mangkunegara VII. Gambyong Pareanom was firstly made as the dance for welcoming the guests (that's why it is commonly performed in Javanese wedding). However, in current era, it is developed to be the regular entertainment dance. As the slow rhythm of dance movement and gamelan tone, the audiences became solemn. They enjoyed the dance that needed high level of focus and tranquillity from the dancers. Indeed, the seven young ladies from Langenpraja Pura Mangkunegaran could finish it impressively.
Srimpi Pandelori Dance
[caption id="attachment_109345" align="aligncenter" width="550" caption="The combination of graceful and brave characters of ladies in Srimpi Pandelori Dance. Photo by Eryne Cahyasa"][/caption]
The second dance was still the "action" of the ladies. It was entitled Srimpi Pandelori dance. That dance was firstly introduced during the era of King Mangkunegara V. There were four dancers from Langenpraja Pura Mangkunegaran who presented it. The dance itself talked about the story of Sang Dyah Sirtupelaheli, the daughter of Sri Karsinah who wanted to free his husband, Sang Ambyah who was imprisoned by Prabu Kanyun in Parangakik Kingdom. Sang Dyah Sirtupelaheli tried to achieve Parangakik Kingdom by using garuda bird. While, in Parangakik Kingdom, there was another lady named Kusuma Sudawerti who was the sister of Prabu Kanyun. She also wanted to take Sang Ambyah off from the prison since she believed toward the forecast from her dream that she would get married with Sang Ambyah. Though her brother Prabu Kanyun strongly opposed the stance of Kusuma Sudawerti, she kept moving on to help Sang Ambyah. In fact, eventually Sang Ambyah got married with Kusuma Sudawerti. The marriage off course led the anger of Sang Dyah Sirtupelaheli since she was the first wife of Sang Ambyah. At the end, the fight between those ladies were undeniable. During the performance, there were two royal maids called as abdi dalem walked on the hall and gave the dancers artificial weapons: bludgeon and arrow. The ladies started to used it and audiences became hypnotized by the fight. It was interesting because the dance could present very well the combination graceful character of the ladies with the bravery and spirit to fight. The contrast characters which were elegantly blended into one dance. After they became intense to attack each other they finally decided to take a peace and agree to be both wives of Sang Ambyah. Thus, maybe we could give synonym name of the dance which is Polygamy Dance. No, just kidding! The dance was not focus on the issue of polygamy but more on the fights of ladies.
Wireng Narayana Kalakresna Dance
[caption id="attachment_109346" align="aligncenter" width="566" caption="The battle of power in Wireng Narayana Kalakresna Danca. Photo by Eryne Cahyasa"][/caption]
Now it was the time of men's show. There were two men dancers who performed Wireng Narayana Kalakresa Dance or Wireng Mondrokesowo. They were also from Langenpraja Pura Mangkunegaran. The dance was created by Gusti Pangeran Haryo Herwasto Kusumo. The background story of the dance was firstly started by the moment when Narayana tried to propose Dewi Rukmi as her wife. Without directly approving, Dewi Rukmi made one requirement for Narayana  if he wanted to take her as wife he had to be king first. He directly asked the suggestion from his honourable teacher, Begawan Patmonobo to find the way to accomplish Dewi Rukmi's request. Begawan Patmonobo gave him idea to conquer Prabu Kalakresna, the king of Dworowati Kingdom. Begawan Patmonobo also gave him weapon to succeed the mission in form of arrow named Kyai Kesowo. From the battle as shown on the dance, finally Narayana could beat Prabu Kalakresna. After gaining his victory Bethara Narada came to ask Narayana to wear to crown that was previously owned by Prabu Kalakresna. Because he had accomplished the request from Dewi Rukmi, he could become Dewi Rukmi's husband and had position as a new king in Dworowati Kingdom.
Bregodo Pareanom Dance
[caption id="attachment_109347" align="aligncenter" width="573" caption="More dynamic rhythm of gamelan and dance movement in Bregodo Pareanaom Dance. Photo by Eryne Cahyasa"][/caption] [caption id="attachment_109349" align="aligncenter" width="310" caption="The personification of Raden Mas Said and Matah Ati. Photo by Eryne Cahyasa"][/caption]
As the night got late, the rhythm of  of gamelan and dance got faster and more dynamic as delivered by the group of dancers from Akademi Seni Mangkunegaran (ASGA). Led by director, Winarto, the dancers played Bregodo Pareanom. The dance was the symbolic story about the ladies troops with the personification of Raden Mas Said and Matah Ati. They still brought the spirit of Mangkunegaran by wearing costumes with dominant colours of green and yellow. This was the free interpretation concept about simple ideas of life: to help and to be helped, to give and to be given, and to complete each other in the unity which was delivered in the harmony of gamelan song. People became more enthusiastic with the fast beat of gamelan and agile movement of the dancers. By loud voice of applause, the first day (from two days) of Mangkunegaran Performing Arts was closed.
It is obvious to see that the people who came in Mangkunegaran at that time look satisfied when they left the venue. They were attracted by the great performers who could awesomely build the spirit of majesty of Javanese culture. May the action of Mangkunegaran and Solo Government become the inspiration for all Indonesians to gain bigger motivation to preserve traditional culture in anyway they can do and apply.
