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Craft objects were made as ornaments and utensils for the king and members of the court. The finest wayang puppets, masks, and dance costumes in Indonesia were produced here and are still being produced. The kratons were their origin, but soon crafts spread beyond its walls and into the villages. Dance also found a home in the kratons. The four princely courts of Solo and Yogya, including the Paku Alam and Mangkunegaran courts, all created a theatre of their own and their dance styles all evolved differently. During the colonial period, a time of peace when money wasn't going to war, artistic expression was even more intense. The princes, though politically powerless, were still extremely wealthy and indulged in all the more pompous, grandiose ceremonial occasions. During the years of the Forced Cultivation Period (approximately 18301869), the twin kraton regents of Java were partners with the Dutch in the ruthless exploitation of their own people. Yet the kratons have always been regarded as the center of the world for the masses, symbolic of spiritual power. They were even built in such a way as to represent a microcosm of the universe, Cities have grown up around them. The titles of the hereditary, rulers who live in them today testify to their supernatural cosmic function: the Susuhunan of Solo'iscalled Paku Buwana (Axis of the World) and the Sultan of Yogya is called Hamengko Buwana (He Who Cradles the World in His Lap).