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At present, neither the bedaya nor the srimpi is so popular among the majority of the people. However, they are still cultivated continuously being given new choreographies and made more dynamic.

kinantang (strong and proud), the demonic character and the monkey character.
The ideal shape for the female character is a medium height, not tall but not short, somewhat thin, and with beautiful face. Tile male refined character Should be of medium height, somewhat thin, and with delicate features. Given these physical characteristics, it is not surprising that this male refined dance of the Surakarta style, especially with the refined and humble characters, is sometimes performed by women. The male strong character should be danced by a man who is of strong physical appearance. The demon dance should be performed by a big and tall man, and the monkey by a strong but medium or rather small size man.

Female dancing is performed in closed position and male dancing in open second position. A female character almost never lifts her feet from the floor except when she is walking or performing flying movements; when she steps she merely lifts her feet very slightly. In the movement of her arms the stress is on the lower arms and hands. While she is dancing she must always be in a small plie position.

The male characters, both refined and strong, dance in a open position, They differ only on the level of the movement of the legs and the arms, and the quality of the movement. The refined characters is performed in a slow movement with no accentuation. The lifting of the feet is not more than seven inches above the floor. While he is dancing he must always be in a demi-plie position and the upper arms are always in diagonal downward position. In contrast the strong dance is performed with staccato quality of movement of the arms, hands, legs and head. The legs and arms are raised to a harizontal position.
Javanese dancing, Surakarta style and Javanese dancing, Yogyakarta style are style are the costume, the dialogue and the dance-movements.
The costume of Surakarta style is brilliant, stately, colourful, and decorated with a great number of sprakling jewels. The costume of Yogyakarta style is simpler, but the shaping of its leather work is more complex.

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The dialogue of Surakarta style resembles the dialoque of a wayang kulit (leather puppet or shadow play) expressed by the dalang (puppeteer). The Surakarta style dialoque resembles the Javanese language used in daily life while the Yogyakarta style, dialogue is rather stiff, restricted by binding rules. The Surakarta style dialogue is a romanantic, while the Yogyakarta style dialoque is classical.
The movements of the Surakarta style are curved and soft and resemble the Baroque style, whereas the Yogyakarta style requires straight and strong steps and movements, so that it looks like the Renaissance style.

PEOPLE'S DANCES IN CENTRAL JAVA

It is worth noting that the above-mentioned dances are dances created and developed only in cirles within the walls of the royal court and the mansions of the nobility.
Since dancing is a branch of art which is closest to human life, there exist not only the two styles of dancing which are feudal in nature, enjoyable only for exclusive court and nobility-circles, but also dances belonging to the common people. Professor Th, Pigeaud In his book, Javanese Volksrvetoningen (Javanese Folk Theatre), written before World War II, listed and explained dances performed throughout Java.