Cultural Anthropology Research

Professional:

2006 Balok, Adriann and Primrose, Jennifer, "Wayang Golek Puppet Theater of Indonesia".
Explorer Magazine, Spring 2006

Public:

Currently, staff and volunteers are researching the puppets and masks of Indonesia in the collection and planning  an exhibit on the Art of Indonesia for the fall, 2006 for Corning Gallery at The Cleveland Museum of Natural History.

Wayang means shadow or ghost in the Javanese language. Wayang consists of three fundamental elements: a Shadow puppets (wayang kulit), three dimensional puppets (w)ayang golek, and a theatrical dance performance.

Recent papers  related to the current research project:

Balinese Masks: Tools for uniting the spiritual with the physical, Calli Ensor, June 2005

Introduction:
Theatre in Bali, Indonesia is more than a distinguished discipline; it is a performance entwined with every day life. Theatre, like all art, is a part of the religion and culture in Bali; thus all Balinese participate in art in some way (County 2004: 3). Furthermore, music, dance, costumes, and drama are not separate entities, but rather pieces of Balinese Theatre that rely on each other to achieve their ultimate purpose: Creating unity and harmony between the three worlds. In this paper, I am going to discuss Balinese masks and the religious-socio-cultural role they play in Balinese Theatre.

Bali is an island, which throughout the ages has been influenced by many other cultures. While Bali’s religious root stems from animism and ancestral worship, Hindu mythology and Buddhism have been major influences. However, regardless of what they were practicing, one factor has always remained constant: “Life in Bali is governed by religion” (Bali 1976: 12). Therefore, it comes as no surprise that the art of mask making derived as a religious act, rather than a quest to create aesthetic beauty. Masks thus give form to godly and chthonic forces and are used in theatrical performances to teach adaptations of Indian Sanskrit Texts (Nunley 1999: 215, 223). In addition, theatrical mask dances are used for, “planting and harvest celebrations and at times of transition in the lives of individuals and communities” (Richter 1993: 129). Mask dances, such as Topeng, also discuss politics of the past and present, and morals. I will further discuss the masked dances in another section of this paper.
 
Masks may represent gods, animals, demons, or humans (Nunley 1999: 219) and can be whole masks or half masks depending on the dance they are used for. Masks can also be sacred or non-sacred depending on their purpose and preparation. Because the mystical theatre in Bali has captured the attention of so many foreigners to the land, non-sacred masks are made abundantly for sale. However, the best of the mask carvers have not abandoned their calling to create the sacred, consecrated masks when they have a “feeling” to do so.

Mask Making
Mask carvers only begin to create a mask when the feeling is “right”. However, this feeling can change during creation, forcing the mask maker to halt the process and resume when the right feeling returns. Therefore there is no set amount of time it takes to make a mask and it can range from 40 days to 4 years. Although one man may be the carver, making masks is a community affair. First, the entire village decides that a new mask is needed and as a whole will sponsor the making of a consecrated mask (Mang 1992: 48). Next, the wood for the sacred mask is collected. Through a qualitative interview with a mask maker, researcher Cathee Mang discovered, “A temple keeper or priest is consulted about where to obtain wood for the mask. He will select a tree growing at a sacred place—a graveyard or temple grounds—from which the wood will be cut” (1192: 49). Once the tree is selected, a wood cutting ceremony takes place, which “must be performed to ask permission and pardon from the spirit of the tree for cutting a block of wood from it” (Mang 1992: 51). The sacred wood is then stored in the temple until the First Cut Ceremony, which is followed by the carving of the mask. Unless the mask maker is a Brahmin, a Brahmin must be called in to perform the first cut (Mang 1992: 57). Then, once this ceremony is complete the mask maker begins his work: carving, sanding, and painting the mask. For sacred masks, artists paint or house paint cannot be used. The mask maker must make his own “traditional” paint from scratch (Mang 1992: 61). Through this process, the mask gains its spirit from the god, demon, or animal it represents. This spirit must then be transferred to the dancer.

Masked Dancers
Balinese mask dancers differ from Western dancers because they do not act like their character, they become their character. Thus, the spirit of the mask enters the body of the dancers. This tradition may have arisen from the Apo Kayan, Mahakam, and Teleng River Districts where gods would descend from the mountains and instill their spirit in men to ensure the fertility of their crops. To disguise their godliness these men would wear masks of deer, pigs, dragons, tigers, or humans in colors of red, black, or white (Richter 1993: 129). When a mask is not used as a disguise for having already assumed the spirit, they are used as a tool to achieve the spirit. When used in Balinese dances the dancer must use fire to summon the mask’s spirit and then fall under the power of the mask (Richter 1993: 130). It is now that the dancer or dancers can perform the multi-dimensional dances of Balinese theatre: Topeng, Wayang Wong, Calonarang, and Barong.

Types of Masked Dances
Topeng
Balinese Topeng has its roots in Javanese masked dance drama (Richter 1993: 130). Topeng includes themes of ancestral history, Bali Hindu religion, and satire of regional, political situations (Geertz 2003: 29). Topeng, which literally means, “mask” or “something pressed against the face” in Javanese (Geertz 2003: 29) is a “wayang [shadow] show in which the parts are played by masked actors” (Wagner 1959: 252). The plays are historical, honoring the lives of Javanese Kings (Richter 1993:130). The stories are adaptations of the Chronicles of the Kings. Many dances focus on Panji and other Hindu epics. As time passes, the dramas modernize, allowing the past heroes relevance in an ever-changing society. Therefore, Topeng is an essential teaching device used to depict history, philosophy, and morality through celebration and ritual (Geertz 2003: 29).

The traditional style of Topeng is topeng pajagan, in which all of the characters are portrayed by one dancer (Richter 1993: 131). Today, topeng panca, in which five or more men dance, is more common (Richter 1193: 131). In each dance, the story remains constant.

Topeng is not only dance theatre, but also storytelling theatre consisting of rich, verbal, interplay (Emigh 1996: 127). A dalang, or storyteller, narrates for all whole- masked wearing dancers. The only characters who can speak are the bondres or clowns who are minor characters that wear half masks. All of the finer characters pantomime (Covarrubias 1937: 247). This dance may also be referred to as Topeng Sida Karya or Topeng Pangejukan, the final character of the drama. Although Sida Karya is not connected to the original story, the incorporation of Sida Karya adds to the moral of the story: “Things are not always what they appear to be” (Geertz 2003: 56). Other Topeng characters include: Patih Pangerancab, Cenikan, Penasar, Kelihan, Pendanda, Penasar Mata Bolong, Bedaulu, Raja Putri, and the Bondres, Pasek, Bongol, Bues, Sketa, Duruh, and Cungih (Geertz 2003: 36-54). 

Wayang Wong- Shadow Men
A second style of Balinese mask dance theatre is wayang wong. Wayang wong is an adaptation of Wayang Kulit or shadow puppet show (Geertz 2003: 59). Wyang as best translated is a shadow of the mythical world (Nunley 1999: 223). Therefore, wayang kulit and wayang wong are used to connect the physical world with the metaphysical through shadows. The stories told through the performances are from Hindu epics such as Ramayana (Geertz 2003: 59). The Ramayana story is retold through dance in three sections: Hanuman Kautus, Sucasrana, and Hangada Kautus (Geertz 2003: 62-65). The issue at hand in this drama is the “battle between truth and justice and the forces of evil,” as well as themes of courage, love, fidelity and endurance (Geertz 2003: 59).
 
The main characters are Rama, Sita, and Rawana. Rama is the virtuous hero who represents the spiritual world as an incarnation of Wisnu. After being robbed as the rightful heir to his father’s throne, Rama and his wife Sita were exiled to the forest. There the demon Rawana plotted to steal Sita. Through trickery and magic, Rawana captured Sita, but she would not betray her husband. Outrages, Rama sought the help of Hanuman, the “white monkey” of divine parentage, to save his love (Geertz 2003:74). The story ends with triumph for Rama, Sita, and Hanuman, which teaches the importance of having courage, love, fidelity, and endurance in ones life. The other minor masked characters include Wibisana, Laksmana, Merdah, Twalen, Sangut, Delem, Sugriwa, Subali, Kumbakarna, Indrajit, and Jatayul (Geertz 2003: 68-80).

Calonarang and Barong
Before addressing the Calonarang and Barong performances, it is important to discuss the featured characters Rangda and Barong. Rangda and Barong, though commonly thought of as good (Barong) vs. evil (Rangda) are seen as One by Balinese (Coldiron 2004: 206) They are not antagonist, but rather the forces of black and white magic, which must be in harmony for social harmony to exist (Coldiron 2004: 206). Rangda is most commonly known as the “widow witch” who derives from the legend of King Airlangga (Wagner 1959: 209). Rangda represents black magic and thus can also represent the Hindu goddess Durga (Coldiron 2004: 201). Rangda further represents the forces of death and destruction, fertility, and Tantric rites. Because Rangda’s spirit is so powerful, her masks must only be work by a priest or a wong sakti, “a specialist in dangerous ritual tasks” (Mang 1992: 18).

The Barong masks on the other hand represent the forces of white magic. The Barong are   animalistic characters with diversity. Rangda’s counter-part referred to above is` the Barong Ket. The Barong Ket is a demonic protector and Lord of the Jungle (Mang 1992: 99). Barong Ket originated in exorcistic rituals as a great god (Lansing 1995: 199) and is also featured in celebrations of renewal (Nunley 1999: 217). Other Barong characters include Barong Bangkal (boar barong), Barong Asu (dog barong), Barong Macan (tiger barong), and Barong Gajah (elephant barong) to name a few (Mang 1992: 15). Animal Barong serves as one of three purposes, “TO serve as village protector, to be used in dance performances on special occasions, [or] to be used for a tourist performance or to be sold as a wall hanging” (Mang 1992: 15). Thus, barongs can be sacred or non-sacred and represent a wide array of animals. Although Barong appears in Rangda’s featured dance, Calonarang, Barong too is feature in his own dance, Barong.

Calonarang
Calonarang comes from the 14th Century Java, but has lost its importance in Bali due to Islamic expansion (Geertz 1992: 83). Calonarang unlike Topeng and Wayang Wong does not have a ‘typical’ performance (Coldiron 2004: 208). In this play, Rangda is Dewi Durga, the Queen off Black Magic and Goddess of Death (Geertz 1992: 83). Calonarang is a story that confronts suppression and containment of black magic (Nunley 1999: 217). This performance is used if a plague breaks out as a result to black magic, as an educational tool teaching Indonesian History, or as entertainment (Geertz 2003: 83).

The story of Calonarang takes place in the Kingdom of Airlangga and tells the tale of Rangda. Matah Gede, the widow of King Dirih has a daughter named Ratna Manggali, who is to be wed to King Airlangga. However, after King Airlangga learns of Matah Gede’s practice of black magic calls off the engagement. Outraged, Matah Gede turns to her magic, transforms into Rangda, and acquires the powers of Durga (Geertz 2003: 87). The play ends with the triumph of Rangda, however there is never a complete victory for either black or white magic. Rangda’s victory will be followed by a loss and neither side will ever be in complete control. Therefore, to contain the powers that rest in the masks Barong and Rangda masks are stored in the village temple. A complete list of characters in the Calonarang include Rangda, Jaran Guyang, Rarung Leyak, Mata Besik, Leyak Poleng, Mahisa Wedana, Leyak Berak, Ni Lenda Lendi, and Celuluk (Geertz 2003: 88-96).

Barong
The Barong dances relate to the stories of Cupak and Gerantang and to the story of Kunti Seraya. Cupak and Gerantang deals with themes of human imperfection, sibling rivalry, and the struggle for self respect (Emigh 1996: 64). Cupak and Gerantang are twin brothers who seek to rescue a princess from the giant Benaru. While Gerantang stands up to Benaru, Cupak who is seen as the gluttonous, cowardly, and ugly brother hides in a tree. AT this moment Benaru transforms into Rangda and Barong Ket rescues Gerantang. IN a violent struggle between Rangda and Barong Ket, Rangda succeeds at throwing down the great Barong Ket. Suddenly, Barong Ket’s faithful followers emerge with swords to fight of Rangda. However, she uses her powers against them and turns their swords into them selves. Mysteriously, the swords do no harm, for Barong Ket is using his powers to protect his men. The final dance is between Rangda and Barong Ket. Neither side has won nor there is no mention of whether or not the princess was rescued. This emphasizes the on going struggle to find harmony and seek balance in the world (Emigh 1996: 64). Other characters in this dance include Barong Bangkal, Barong Macan, Barong Menjangan, Barong Lembu, Barong Singa, Jero Luh, Jero Gede, Galuh, Mantri Manis, Mata Gede, Monkey, Jauk Keras, Jauk Manis, Telek luh, Telek Muani, Dewi Kalika, Dewi Durga (Geertz 2003: 108-124).

Conclusion:
Through this brief examination of Balinese Masked Performances, it becomes clear that the elements of theatre, the story, the masks, the performance, are all special and require much preparation. All of the dances are accompanied by the gamelan orchestra, which sets the tone and mood for the dances. Whether or not the dance is historical, political, or for entertainment sake alone, the Balinese put forth much effort and endurance for each performance.

The Cleveland Museum of Natural History is fortunate enough to have obtained a collection of these masks from Bali. Among these are examples from the Calonarang, Wayang Wong, and Barong dances. The characters at the museum include Rangda, Rama, Barong, Barong Bangkal, Menjangan, and various other animal masks. BY examining the craftsmanship of these masks, it is crystalline why Bali is famed for its beautiful masks and masked dance performance.

References Cited

Bali, 1976 Travelers Dreamland. Switzerland: Kummerly & Frey.

Coldiron, Margaret, 2004 Trance and Transformation of the Actor in Japanese Noh and Balinese Masked Dance Drama. New York: The Edwin Mellen Press.

County, Linda, 2004 Journey off the Tourist Track: Mask carving in mystical Bali. Electronic Document, http://www.theculturedtraveler.com/Archives/AUG2004/Bali.htm, Accessed, June 6, 2005.

Covarrubias, Miguel, 1937 Island of Bali. New York: Alfred A Knoft, Inc.

Emigh, John, 1996 Masked Performance: The Play of Self and others in Ritual Theatre. Philadelphia: University of Pennsylvania Press.

Geertz, Hildred, 2003 Balinese Masks: Spirits of an Ancient Drama. Singapore: Periplus Editions Ltd. 

Lansing, J. Stephen, 1995 The Balinese. San Diego: Harcourt Brace College Publishers.

Mang, Cathee, 1992 An Overview of Balinese Masks, Mask-Making, and Mask-Making Rituals: A Thesis presented to the Center for International Studies for Ohio University. Athens: Ohio University.

Nunley, John W. and Cara McCarthy, 1999 Masks: Faces of Culture. New York: Harry N. Abrams Inc.

Richter, Anne, 1993 Arts and Crafts of Indonesia. London: Thames and Hudson Ltd.

Wagner, Frits A., 1959 Art of the World: The Art of Indonesia. New York: Greystone