TOPENG

Topeng is another version of danced-drama where every player puts a mask, the topeng, on his face. If the other danced-dramas are full of symbols, and metaphorical lyric, in contrast, everything of Topeng seems more realistic, prosaic, and comprehensible, either satrirical or comic. A Topeng performance is played by only two, three, or four dancers. Two of them adapt the role of Penasar & Kartala, the royal attendants who are also the clowns, the communicators, and the dancers who sould build up the atmosphere and arouse a sense of humour amongst the public. If one plays the communicator the other appears alternately to play different role he only changes the mask, the actions, the movements, the voice, but not the dress. Usually they play out the genealogical history of the high-caste family. The name of Topeng is also used to describe the solo dance, wherein the dancer puts a mask on his face. The popular one is Topeng Tua, The Old Man’s Mask. The dancer for this topeng should master all sorts of an old-man’s actions. Topeng Bebondresan is a series of masks expressing several ridiculous characters. The dancer of Bebondresan, undoubtedly, should be proficient in acting as much as each mask leave the dancer’s mouth uncovered to allow speaking or singing.

Another version of solo Topeng is called Sidakarya, meaning the Bringer of Luck, which is also called Dalem Truna, the King of Unmarried Youth, or just called Pajegan. This dance is only performed during a certain ceremony, where the dancer, with his ugly mask, frightens the children but then scatters an amount of coins to be fought over by the crowd.