Topeng dance
Indonesian masked dance predates Hindu-Buddhist influences. Native Indonesian tribes still perform traditional masked-dances to represent nature, as the Hudoq dance of the Dayak people of Kalimantan, or to represent ancestor spirits. With the arrival of Hinduism in the archipelago, the Ramayana and Mahabharata epics began to be performed in masked-dance.
It is believed that the use of masks is related to the cult of the ancestors, which considered dancers the interpreters of the gods. Topeng performances open with a series of non-speaking masked characters which may not be related to the story to be performed. These traditional masks often include Topeng Manis, Topeng Kras (a martial, authoritarian character), and Topeng Tua (an old man who may joke and draw-out the audience).
The story is narrated from a Penasar, a jawless half-mask that enables the actor to speak most clearly. In group topeng, there are usually two penasars providing two points of view. The performance alternates between speaking and non-speaking characters, and can include dance and fight sequences as well as special effects. It is almost always wrapped-up by a series of comic characters introducing their own views. The narrators and comic characters frequently break western conventions of storytelling by including current events or local gossip to get a laugh.
In topeng, there is a conscious attempt to include many, sometimes contradictory, aspects of the human experience: the sacred and the profane, beauty and ugliness, refinement and caricature. A detailed description and analysis of "topeng pajegan," the one-man form of topeng, is available in Masked Performance by John Emigh, a western theater professor who has become a performer of Balinese topeng.
In East Java topeng dance is called Wayang Gedog, the most famous artform originated from Malang Regency, East Java. Wayang gedog usually the theatrical performance that took the themes from the Panji cycles stories from the kingdom of Janggala, in which the players wear masks known as wayang topeng or wayang gedog. The word "gedog" comes from "kedok", which, like "topeng" means "mask". The main theme is the story of Raden Panji and Candra. This is a love story about princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was the incarnation of Dewi Ratih and Panji was an incarnation of Kamajaya (god of love). Kirana's story was given the title "Smaradahana" ("The fire of love"). At the end of the complicated story they finally can marry and bring forth a son, named Raja Putra. Panji Asmarabangun ruled Jenggala under the official names "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati".
In Yogyakarta tradition, the mask dance is part of Wayang Wong performance. Composed and created by Sultan Hamengkubuwono I certain characters such as wanara (monkey) and denawa (giant) in Ramayana and Mahabharata uses masks, while the knight and princesses aren't wearing any mask. The punakawan (jester) might use a half mask (mask without jaw) he can speak freely and clearly. Significantly here, the mustache is painted in black. The Topeng Klono Alus, Topeng Klono Gagah, and Topeng Putri Kenakawulan dances are classical Yogyakarta court dances derived from the story of Raden Panji from the 15th century Majapahit legacy. The Klono Alus Jungkungmandeya and Klono Gagah Dasawasisa are masked dances adapted from Mahabarata stories.
Topeng of Surakarta Sunanate court is similar in style and theme with Yogyakarta ones. Differences are seen in the craftmanship of masks; facial hair is represented with hair or fibre, while Yogyakarta-style uses black paint. And similarly to Yogyakarta, the Sukarta topeng punakawan often uses jawless half-mask.
| Betawi mask dance or mask-dance of the Betawi people of | tari topeng Betawi is a Jakarta. |
Related Sites for Topeng dance
- “MISTIK†read Topeng dance
