Topeng
 Topeng
has existed in Bali for at least 300 years, and remains enormously
popular throughout Bali. In Topeng, a story from Balinese history is presented through
a series of masked dances. Topeng dancers hold a special role among
performing artists, in that they must be literate in history and
religion, and be aware of local, national, and international developments.
There are many forms of Topeng, including Topeng
Pajegan, a form specifically performed
by a solo dancer playing several masked characters, and Topeng Panca,
normally performed by a troupe of five dancers. The Topeng characters
not only explicate the story, but also make a connection between that
story and the event at hand, which might be a religious ceremony such
as a temple anniversary, a human rite of passage such as a funeral, or
even a political rally. The character not only reveals the traditional
meaning of the ceremony, but also makes comments on politics, morality,
and the modern function of the ceremony. In the 20th century,
increasing Western artistic interest in the holistic arts context of
Balinese Hindu culture changed the traditions somewhat, however
Balinese arts are well equipped to change and evolve with the times,
and yet keep their spiritual and social essence and integrity.
 Some of
the masks danced in Topeng include the Old Man, Clown characters,
servants, and Kings. Traditionally,
the first two or three characters to come out are the opening,
non-speaking characters. With the entrance of the speaking penasar,
servant to the king, the story begins to be revealed. Other masks
advance the story in one way or another -- by singing in the lofty
language of kings and princes, by interpreting and commenting
on that language for the audience, by cracking jokes, and, at
moments when the music stops, through sparkling banter and dialogue
with other characters. (Notice the parallel to other masked movement
styles, such as Commedia dell'Arte!)
 The masks
that are used in Topeng, as with all other Balinese masked performance,
are carved by revered mask makers out of a light wood called pule
(poo-lay). Mask makers have a special respected place in Balinese
society, and those who carve masks for ceremonial types of masked
dance do so out of live trees.
The music
for Topeng underscores the topeng's character, reflecting refinement,
strength, or humor. Music for the refined characters will have
longer "gong cycles" or rhythmic patterns, while the funnier and
coarser character are accompanied by shorter gong cycles.
People Like
Me 2002: Face to Face!
features master dancer I Nyoman
Sumandhi performing an abbreviated
excerpt from Topeng Pajegan, a form specifically performed
by a solo dancer playing several masked characters. As the
dancer goes through his characteristic movements within a certain
musical structure, the sequence and pacing of the movements is
improvised, though they are mostly based on a well-known repertoire
which is familiar to the musicians. At particular moments within
the metric framework of the gong cycle, the dancer gives cues
for
angsel, or rhythmic breaks in the musical flow
which are reflected
in the choreography. The drummer communicates
the angsel to the
other
musicians through split-second reactions. Ideally, the drummer
and
dancer are in perfect sympathetic coordination, as they communicate
not only through choreographic cues, but also through changes
of
voice and dramatic development as the story unfolds. |
