Malang has been an open area since the Dutch colonialism. At that time economic planning had begun, becoming an international route (through Surabaya) that opened access to the surrounding area. Malang was officially occupied by the Dutch colonial government since 1767 after the Dutch broke the resistance of Prince Singosari-Malayakusuma, a descendant of Suropati. Pigeaud's report (1938) states that housing and the economy in Malang have been developing for a long time. One of the regents who leads the Malang region is Regent Ario Adipati S.A.M. which ruled between 1934-1942. This period is the reign of the Malang Regent before the independence of the Republic of Indonesia. Based on information from Pigeaud (1938) obtained from Malang Regent Adipati Ario Suryodiningrat, in this area, there are puppet masks scattered in various villages. Evidence that mask performances are scattered in various villages is shown in the following quote [1]:
In 1928 in Malang Regency there were 21 masks collections. This well-known mask player comes from Pucangsongo Village, Tumpang District; Once upon a time, the village was named Saritruno who was known to be good at mask dancing. Not long ago in Malang and its surroundings all youths and priyayi had to be able to dance masks; Therefore, the priyayi often performs mask dance parties, the masks are still made in Belimbing District, Malang City.
In line with the piegaud statement, historian Onghokham describes the unfortunate wayang mask in his writing.Snippets of the description are:
In the 1930’s as a well to do peasant called Reni live in this village, he was on of the greatest topeng carvers of the Malang style and led one of the best wayang topeng troupers of his time. In today’s wayang topeng world of Malang the village Palawidjen is best known as Reni’s village. In his day the wayang topeng achieved one of its hig points. This development was certainly partly due to the patronage of the ten bupati of Malang R.A.A Soeriaadiningrat, who supplied Reni with his matrials (gold leaf, good point, wood) and helped set artistik standards [2].
According to Murgiyanto [3], around the 1930s, in Malang, there were quite some mask puppet associations, one with another. Contact between one association and another occurs because of equipment that cannot be made by yourself, especially masks. Apart from relating to aspects of dance practice. Like Samut as a Gunungsari dancer, along with Kik Tirtonoto, son of Kik Rusmaman; a dashing dancer and singer, and Kik Rakhim who developed wayang masks in East Malang until the 1970s.
During the 1980s and 1990s, the participation of the community, as well as several private and government agencies, was very large, as evidenced by the efforts to restore wayang masks in various regions. Now the groups that can still appear are the Wayang Mask Association "Karya Bakti" from Jabung Village, chaired by Parjo, the "Srimarga Utama" mask puppet association from Glagahdawa Village led by Rasimoen, the mask puppet association "Asmarabangun" from Kedungmonggo Desa, and the association. The "Candrakirana" mask puppet from Jambuer Village is led by Barjo Djiyono, and the Mangun Dharma Art Padepokan is led by Moch. Soleh Adipramono [4]
In late 2000, the team conducted a field survey and found that the mask puppets that were still active came from two villages; (1) Asmarabangun Puppet Mask Association from Kedungmonggo Hamlet, Pakisaji District, (2) Srimargatama Mask Puppet Association from Dusun Glagahdawa, Tumpang Regency. Apart from the two groups, two mask associations have long been established in Malang. However, due to obstacles in regeneration, the association could not hold an intensive stage. The mask puppet associations that began to recede were (1) the Galuh Candrakirana Mask Puppet Association from Jambuwer Village-Sumberpucung District led by Bardjo Djiyono, and (2) the Wira Bakti Mask Puppet Association from Jabung Village-Tumpang District led by Pardjo.
Wayang Topeng in Malang is historically still related to the culture of the community so that the religious function factor is related to the worship of ancestral spirits which can survive as a fast-growing show in Malang society. This shows that four factors are interrelated with the formation of structures, namely (1) society, (2) environment, (3) social system, and (4) religious system. These four factors simultaneously contribute to the structure of wayang masks performances and even affect the continuity from generation to generation [5].
Supported in terms of history and continuity, Wayang Topeng is a trading commodity for the people of Malang. This condition makes wayang masks a cottage industry among the people of Malang Raya. Wayang mask craftsmen live and experience the art of mask puppet performances in the areas where they live. Unfortunately, the small business groups, the home industry for wayang mask craftsmen, have not developed much. This fact is added to the fact that the Malang mask puppet is a culture that is currently abandoned by its people, and a lack of concern for this culture makes many poor people themselves don't know it anymore [6]
Modernization and development in the last two decades have brought our contemporary society into various aspects of the new reality of life, such as reality, pleasure, attractiveness, the perfection of appearance, freedom of desire. However, modernization and development on the contrary cause us to lose the reality of the past and the wisdom of the past that lies behind it, which is also more valuable for our development as humans, such as a sense of depth, a sense of belonging, a sense of beauty, a spirit of spirituality, a spirit of morality, and spirit of community [7]
This quote shows that the minds of modern society are really busy trying to draw a linear line from the past and put it as an exclamation point; What's more, it looked like a signal that someone was rushing like a wave without an embankment. Everything that has ever existed will be dragged away and scattered meaninglessly, or it cannot be used to mark or impart any greater meaning to this life.
This quote shows that the minds of modern society are really busy trying to draw a linear line from the past and put it as an exclamation point; What's more, it looked like a signal that someone was rushing like a wave without an embankment. Everything that has ever existed will be dragged away and scattered meaninglessly, or it cannot be used to mark or impart any greater meaning to this life.
Looking at this statement, it is unlikely that the Wayang Topeng Malang will become an artifact like the one on display in the museum today. Wayang Topeng Malang needs a new spirit, another meaning; another atmosphere; and other interests that continue to speak to a more concrete statement as reality, a meaning that represents its era. The question is who bothered to change it? or whether the Malang mask should rely on "messiah" which places an attitude as a "savior" of culture.
References
[1] Pigeaud, T. (1938) Javaanse Volksvertoningen. Batavia: Uitgave Volkslocture.
[2] Onghokham (1972) ‘The Wayang Topeng of Malang’, in Indonesia. Cornell Modern Indonesia Project.
[3] Murgiyanto, S. & A. M. (1979) Topeng Malang. Jakarta: Departemen Pendidikan dan Kebudayaaan - Direktorat Jendral Kebudayaan.
[4] Hidajat, R. (2009) ‘Kontinuitas dan Dis-Kontinuitas Seni Pertunjukan Wayang Topeng Di Malang’, Jurnal Seni Budaya, 7(1), p. 7.
[5] Hidajat, R. (2011) ‘Refleksi Konsep Macapat Pada Karakteristik Penokohan Wayang Topeng Malang’, Jurnal Seni Budaya, 9(2), p. 215.
[6] Hendrawan, Y. F. (2016) ‘Galeri Wayang Topeng Malangan di Malang’, eDimensi Arsitektur Petra, 4(2), p. 849.
[7] Piliang, Y. A. (1998) Dunia yang Dilipat. Bandung: Mizan.
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