Appearing in its present form at the beginning of the 1930s, this genre drew from older models, such as the trance-dances as practised in temples. A chorus of men, some forty performers, seated in concentric circles facing towards the centre, where a scene from the Ramayana is played, with the texts declaimed by actors. The chorus itself performs a polyphony of diverse cries and onomatopoeias, wherein the syllables [ke] and [cak] (pronounced "cha") are stylised monkey calls. The result is a varied rhythmic counterpoint, mainly using techniques of hocket, ostinato and off-beat. Synchronisation betwecn the different parts is rigorously directed by one of the members in the chorus, a sort-of conductor whose signals can be clearly heard. There is no place for improvisation, and all the parts, whose number vary during a performance, have been learned by heart.