NDLI: Balinese Topeng Mask

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Balinese Topeng Mask

Balinese Topeng Mask Performance

Bondres Kete (Stutterer)

Bondres Kete (Stutterer) Performance

Bondres Sobag Performance

Bondres Wanita (Young Woman)

Bondres Wanita (Young Woman) Performance

Dalem (King) Performance

Dalem Bedaulu Performance

Gajah Mada (Patih Keras)

Gajah Mada (Patih Keras) Performance

Jauk Keras (Jauk Durga)

Jauk Keras (Jauk Durga) Performance

Panasar Cenikan (2nd Story Teller) 01

Panasar Cenikan (2nd Story Teller) 01 Performance

Panasar Cenikan (2nd Story Teller) 02

Panasar Kelihan (1st Story Teller)

Pasek Bendesa Performance

Patih Dimung (Topeng Arya)

Patih Keras (Patih Jelantik)

Patih Keras (Patih Jelantik) Performance

Patih Pasung Grigis (Detya Mayadanawa)

Patih Pasung Grigis (Detya Mayadanawa) Performance

Patih Pekem of Sunda

Patih Ularan Performance

Pattih Jurun Performance

Penasar Kelihan

Penasar Kelihan Performance

Pendeta (Priest)

Pendeta (Priest) Performance

Putri (Noble Woman)

Sidha Karya (Brahmana Keling, Dalem Bungkut)

Sidha Karya (Brahmana Keling, Dalem Bungkut) Performance

Topeng Tua (Old Man)

Topeng Tua (Old Man) Performance

Topeng Turis (Tourist)

Topeng Turis (Tourist) Performance

Balinese Wayang Wong Mask

Calonarang Mask

Dayak Hudoq Mask

Other Dayak Masks

Topeng Babakan Mask

Balinese Topeng Mask

Content Provider	IGNCA - Man and Mask
Description	The present tradition of Wayang Topeng dance/drama in Bali seems to go back to the 17th Century, when I Gusti Ngurah Jelantik Tusan is reported to have used masks captured from East Java by a force led by his ancestor a century earlier. While the tales used in the repertoire range chronologically from the defeat of Detya Mayadanawa by the gods under Indra to the mass death by suicide of the court at Denpasar in 1906, most topeng stories are drawn from the Babad Dalem, or Chronicles of the Kings, as recorded on palm leaf manuscripts; these stories detail the struggles of the Majapahit Empire (which came to include Bali in 1343) and the troubled history of the later Balinese princely states as they vied with each other for dominance. Topeng pajegan is commonly presented at temple anniversaries (odalan) and at the life cycle events celebrated by Balinese families, such as tooth filings, marriages, and cremation ceremonies. These relatively more sacred performances end with a public offering prepared during the performance by a Priest and presented by the performer in the mask of Sidha Karya (He Who Makes the Ceremony Complete) for the benefit of the family or village. A topeng performance begins with a series of from two to four introductory dances having no necessary direct relationship to the story that will follow. The story of a Topeng performance is introduced, framed, and commented upon by servant characters (Penasar) who improvise Kawi (Old Javanese) dialogue for the principal characters and translate the meaning and import of that dialogue to the audience. Most of the principal characters of the story appear in masks that cover almost the entire face of the dancer/actor. Near the end of the story, a series of comic Bondres masks emerge. Topeng masks are carved from the relatively soft but durable wood of the Puleh tree (alstonia scholaris) by expert craftsmen, many of whom are also dancers and musicians.
Access Restriction	Open
Subject Keyword	Ancient Human Practice Anthropology Anthropomorphic Art Work Art History Babad Dalem Bali Ceremonies and Practices Decorative Mask Denpasar Detya Mayadanawa Disguise Drama Drama Theraphy Gusti Ngurah Jelantik Tusan Indra Kawi Museum Object Ornamentation Penasar Performance Performing Art Ritual Mask Sculpture Sidha Karya Tat Twam Asi Topeng Panca Wayang Topeng
Content Type	Image Text
Resource Type	Visual Artwork

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