A comic patih, often serving as a courtier (arya) to a demonic king, is often presented as the second or third dance of the pengelembar. Seeming to parody the austere power of the patih keras, this dance opens up, through laughter, the channels of communication between the past and present -- and therefore between performer and audience. This whimsical treatment of Patih Dimung, one of Gajah Mada's adversaries, is well suited for such use.