There is evidence for the existence of some kind of grammatical structure in a passage from Golek Lambangsari, a Javanese classical court dance for women, composed by Sasmintamardawa of Jogjakarta, Java. In the passage under examination Sasmintamardawa used two different choreographic methods for manipulating the Javanese classical dance material: first, the more usual traditional, multipart variations with their connecting transitions; and second, very short, simple variations which seem not to have transitions between them. An analysis of the boundaries between the phrases in this passage reveals that the boundary conditions are different for each choreographic method, and further, for each level of the structure of the passage. The latter discovery indicates that the structure of the passage (no matter which choreographic method is considered) is different at each of three levels which I define in the boundary analysis—phrase, subphrase, and basic movement unit—and that there is some overall organizing grammatical principle causing this to be so. An explanation of Jogjanese classical female dance style phrase structure precedes the boundary analysis of the passage from Golek Lambangsari.