Harmonia: Journal of Arts Research and Education 20 (1) (2020), 73-83 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i1.24785

History of Inheritance of Wayang Topeng Malangan ( Traditional Mask Puppet) in Pakisaji and Tumpang

Arining Wibowo1, Joko Kurnain2, Juanda Juanda3

1Universitas Kebangsaan, 2Institut Seni Budaya Indonesia, Indonesia 3Universitas Komputer Indonesia, Indonesia

Submitted: May 5, 2020. Revised: June 9, 2020. Accepted: July 4, 2020

Abstract

This study aims to explain the history and process of inheriting mask puppet art in two represent- ative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-dis- trict and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical in- struments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned this art since the age of four. Padepokan Mangun Dharma is the home of mask puppet art, as well as music, traditional dance, and theatre, macapat, puppetry, and shadow puppets. The history of the inheritance of this her- mitage began with the great-grandfather of the puppeteer Soleh namely Kek Sainten (Grandpa Sainten). The current heir of Padepokan Mangun Dharma is the son of the puppeteer Soleh, Supriyono Hadi Prasetyo, who also learned puppetry both autodidact and formally through col- lege. Although inheritance occurs vertically, which is hereditary in each hermitage, horizontal inheritance also occurs between the two. This indicates that the inheritance process of Padepokan Asmoro Bangun and Mangun Dharma are related to each other.

Keywords: Inheritance; Mask Puppet; Malang; Mangun Dharma; Padepokan Asmoro Bangun

How to Cite: Wibowo, A., Kurnain, J., & Juanda, J. (2020). History of Inheritance of Wayang Topeng Malangan (Malang Traditional Mask Puppet) in Pakisaji and Tumpang. Harmonia: Journal of Arts Research And Education, 20(1), 73-83.

INTRODUCTION dreds of years in the life of the people of Malang through the process of inheritance Inheritance (transmitting cultural carried out by artists and hermitages. This values) is a hereditary tradition that consi- traditional art has become its own identi- ders values, beliefs as a matter of necessity ty and contains local teaching about mo- and completeness from certain communi- ral, philosophical, and historical values. ties (Cahyono, 2006). The art of Wayang Nevertheless, the preservation of mask Topeng Malangan has developed for hun- puppet art in the city of Malang deserves

 Corresponding author: E-mail: [email protected]

73 74 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-83 attention because the number of active pects, but also understanding the meaning hermitages is no longer found. Further- [art] for members and their communities, more, the art of Malang mask puppet is no the relationship between members, and longer widely known by the younger ge- the relationship between the arts and their neration in the city of Malang. The youn- supporting communities. The inheritance ger generation considers traditional art as of art in Padepokan Asmoro Bangun and an ancient thing, some do not even know Mangun Dharma is carried out to transmit and have access to mask puppet art (Nir- the Malang mask puppet art to the family, wana & Setiyati, 2018). Art practices and from one artist to another, and the general appreciation activities are limited to only public. a few groups such as artists, art students, Suprihatin and Pratamawati (2019) in researchers, and cultural observers, wit- their research explained that the success of hout the support of the community who is inheritance of Malang shadow puppets oc- the owner. If it relates to the process and curred through routine padepokan activities model of inheritance of the Malang mask such as dance training and mask making, puppet art, Padepokan Asmoro Bangun compiling promotional media, and expan- and Padepokan Mangun Dharma are two ding relations with relevant stakeholders. good examples. Both these hermitages are According to Suprihatin and Pratamawa- still intensively carrying out art practices ti (2019), these activities made Padepokan to aim at bequeathing knowledge and Asmoro Bangun one of the four successful maintaining the preservation of the Ma- hermitages in preserving the art of Malang lang mask puppet art. mask puppet to date. In contrast to what John W Berry divides the inheri- has been reviewed by Suprihatin and Pra- tance system into two, namely vertical tamawati, this study focuses on the pro- transmission and horizontal transmission cess and practice of inheritance (vertically) (Rochmat, 2013). Vertical transmission is a and between artists (horizontally) that oc- hereditary inheritance system, according cur in Padepokan Asmoro Bangun and Pa- to Jazuli (2011) that inheritance is a gene- depokan Mangun Dharma. This research tic process. Horizontal transmission is a aims to explain the role and interests of the system of inheritance through educational heirs of the arts in realizing the success of institutions, including the hermitage and the preservation of the art of Malang mask art studio. Educational institutions can be puppet. The inheritance model between a medium of inheritance because another offspring and between artists carried out meaning of inheritance is the process of by these two padepokan can be an example transferring the competencies of teachers for padepokan, the arts community, as well to students (Jazuli, 2011). Inheritance is as artists to preserve traditional and local the process of transmitting values, beliefs, arts so that they can last for generations, cultural motives, and especially skills. Ac- from generation to generation of artists’ fa- cording to Rochmat (2013), the process of milies. The inheritance model carried out inheritance is not only done through lear- by Padepokan Asmoro Bangun and Man- ning, but also daily experiences, obser- gun Dharma also shows that collaboration vations, folk tales, and so on. Inheritance between padepokan and artists is a vital fac- in the Malang mask puppet art of refers tor in the preservation of traditional arts. to the transmission of skills in the fields of dance, puppetry, mask craft/creation, METHOD as well as traditional music. The process of inheritance also transmits knowledge, This research is a type of qualitative history, puppet characters, philosophical research using data collection techniques values, and symbolization. According to through interviews, observations, and do- Hidayah et al. (2012), cultural inheritance cument studies. The object of research in is not only about recording the material as- this paper is two padepokan, namely Pa- Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 75 depokan Asmoro Bangun in Pakisaji sub- central figure of mask puppet, Panji Asmo- district and Padepokan Mangun Dharma robangun. The Padepokan Asmoro Ban- in Tumpang sub-district. Interviews were gun arts group started from the generati- conducted with two padepokan leaders na- on of Serun with the name Pandawa Lima mely Tri Handoyo and Soleh Adi Pramo- in 1880-1917. In Hidayat’s writings (2008), no, along with several family members it is explained that Serun learned the Ma- from the two padepokan. The process of lang mask puppet art from his uncle na- interviewing, observing, and studying do- med Gurawan when he was in Bangeran cuments periodically had been conducted plantation area in the Wijiombo region, from September 2017-May 2020. Data col- Gunung Kawi. Whereas Gurawan stu- lection techniques through observation are died Malang mask puppet directly from carried out through participation in art Mbah Reni in Polowijen village, known as activities in both schools such as perfor- Malang mask maestro. Kusdewanti et al. mances, exhibitions, seminars, workshops, (2014) mentioned in her writings that Se- or discussions. The document study was run who came from Kedungmonggo was carried out by searching for written sour- a student of Gurawan’s. Serun was the one ces both through the personal library of who brought the Mlangan mask puppet the interviewees and the public library, to art to the Kedungmonggo hamlet in Ka- complete the research data and become a rangpandan village, Pakisaji sub-district, secondary data source in this study. Malang. This family has an important role in making mask puppets a part of folk art RESULT AND DISCUSSION and for generations to maintain the conti- nuity of the Malngan mask puppet art in Two representative padepokan in the Pakisaji sub-district. development and preservation of traditio- Serun’s leadership was bequeathed nal arts, including Wayang Topeng Ma- to his son named Kiman after Serun pas- langan, namely Padepokan Asmoro Ban- sed away in 1930. Kiman was better kno- gun in Pakisaji and Padepokan Mangun wn as Pak Pario (Mr. Pario) and during his Dharma in Tumpang. In 1930-1960, there leadership, his cousin named Rasimen un- were more than 220 art groups in the city til 1980 was known as a puppeteer whose of Malang, but only a few have survived abilities were recognized with clear, loud, to this day. Through the presentation of and unique vocal characteristics, so that inheritance and history from Padepokan the Malang mask puppet performance in Asmoro Bangun and Padepokan Mangun the era of Kiman and Rasimen was always Dharma, it can be assumed that the success lively (Hidayat, 2008). During Kiman’s of the process has an impact on the sustai- leadership, this art group was known as nability of the arts. Two patterns of inhe- ‘Garuda Ngarep’ and had many followers ritance, namely vertical (in descendants/ even from other cities such as , family) and horizontal (between artists), , and Lumajang. Kiman’s son, carried out by Padepokan Asmoro Bangun Parijo (known as Karimun) was known to and Padepokan Mangun Dharma over the be very serious in learning Malang mask past few decades have made these two pa- puppet and began to learn to dance since depokan still standing and actively contri- 1933 (Safarudin, 2013). buting to the development and preserva- Afterward, the leadership of the arts tion of traditional art in Malang, especially group was then led by Karimun, Taslan the mask puppet. Harsono, and Tri Handoyo as the third, Padepokan Asmoro Bangun is loca- fourth, and fifth family heirs. This family ted in the Kedungmonggo hamlet in the art group is known by the name Padepo- Karangpandan village of Pakisaji sub- kan Seni Asmoro Bangun since the third district, Malang. The name of the hermi- leadership period, Karimun, also changed tage is taken from the name of the most not only to the art group that performed 76 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-83 the Malang mask puppet show, but also lang mask puppet art. The inheritance of craftsmen or mask artists since that time. the Malang mask puppet through descent Padepokan Asmoro Bangun has been pas- occurs in every art group such as that in sed down for five generations concerning the Padepokan Asmoro Bangun family in the Malang mask puppet show and three Kedungmonggo or Padepokan Mangund- generations concerning mask crafts. Pre- harma in Glagahdowo, and other hermita- sented by Balok Safarudin (interview on ges in Malang. 22 April 2018), Karimun was known for As the fourth heir of this family, Tas- his seriousness in learning Malang mask lan Harsono died first in 1992 due to illness puppet. Karimun has never missed the while Karimun as the third heir died in mask puppet learning from Malang sin- 2010. The leadership of Padepokan Asmo- ce he was a child, although the other stu- ro Bangun which was officially established dents were adults. Karimun studied not in 1982 was later taken over by Tri Hando- only dancing but also masterminding and yo and his brother named Suroso although, carving masks. During Karimun’s leader- at the time, only Tri Handoyo was directly ship, this art group began to be known and officially held. In both the leadership as Padepokan Asmoro Bangun and ma- of padepokan and other activities, family naged to hold performances even outside members such as wife, children, nieces, the city such as Pasuruan, Probolinggo, sisters, and brother-in-law of Tri Handoyo Lumajang, Situbondo, and generally in actively participated in dancing, teaching villages in Malang. Despite many obstac- dance, becoming pengrawit, and as a crafts- les, Karimun and his son, Taslan Harsono man in masks. Inheritance through genera- diligently maintained the existence of the tions in the family has become a habit and Malang mask puppet. Both of them did a is considered to have its privileges. Based lot of fixing dance material and carving art on the story that is commonly known by (sculpture). this family, explained by Bayu (interview In this era, not only artists were ac- on 29 September 2017) that at first, Tri Han- tive in learning the Malang mask puppet, doyo did not have the desire to inherit the but each art group was interrelated and leadership of Padepokan Asmoro Bangun. related to one another (Hidayat, 2005). Ar- However, in the end, Tri Handoyo felt that tists in this era learned the Malang mask the inheritance of the Malang mask puppet puppet directly from the teachers they and mask craft had become an obligation wanted, for example, Kangsen from Ja- for the descendants of this family. Tri Han- bung studied the Malang mask puppet doyo leads Padepokan Asmoro Bangun from Tirtowinoto (Supriyanto & Pramono, and participates in many events both at 1997), Chattam AR, known as the mask home and abroad to preserve and develop puppet artist learned from Karimun and Malang mask puppet. Kangsen (Hidayat, 2005), Sujopo (inter- The inheritance of Malang mask view 7 April 2018) explained the learning puppet and the family mask crafts was process from Karimun in Kedungmonggo done on not to the eldest son or daughter and also in Glagahdowo. In that era, accor- but to offspring who were considered to ding to him, artists were interconnected have the dedication and desire to main- with each other and generally, students tain Padepokan Asmoro Bangun. Tri Han- came to the hermitage and the place whe- doyo himself is the second son of Taslan re their teacher lived to learn the Malang Harsono. In his childhood, Handoyo often mask puppet. Inheritance of the Malang ran away from the learning of his grand- mask puppet through a good family sys- father Karimun but in the current era cho- tem refers to two things, namely the family se to quit his permanent job and dedicate in terms of heredity and family in the sen- his life to Padepokan Asmoro Bangun and se of being part of a large community that Malang mask puppet. While Suroso cho- lives in one area and the owner of the Ma- se to become a civil servant and was not Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 77 directly involved in the leadership of Pa- Bangun. Yati and Edi Wibowo, for examp- depokan Asmoro Bangun. As having been le, are the younger siblings of Tri Handoyo done from generation to generation, the who work in making masks or Bayu who inheritance of Padepokan Asmoro Ban- are the nephews of Tri Handoyo who are gun, Malang mask puppet, and the fami- active as pengrawit in Malang mask puppet ly mask crafts will also be done on to the performances in Malang. Winnie Padnec- two daughters of Tri Handoyo. Tri Han- wara and Dita Andhika Raja Padmi are the doyo and Saini have two daughters who sixth heirs of this family who are also the are actively involved in Padepokan Asmo- first female heirs to lead Padepokan Asmo- ro Bangun’s activities. Tri Handoyo’s two ro Bangun in the future. Mask puppets are daughters are named Winnie Padnecwara known as traditional arts which in the past (15 years) and Dita Andhika Raja Padmi were exclusively occupied only by men so (12 years). Dita, especially as the youn- that the inheritance of Winnie Padnecwa- gest daughter is considered to have a st- ra and Dita Andika Raja Padmi who are rong desire to inherit the leadership of Tri women is a crucial step and challenges the Handoyo. Saini said (interview on 30 Sep- tradition of Padepokan Asmoro Bangun. tember 2017) that her youngest daughter Although it has been passed down from childhood until now has a desire to from generation to generation and can inherit what her parents have done and is be said to be successful until the sixth ge- even considered to have excellent dancing neration, the inheritance of the Malang skills. mask puppet art in Padepokan Asmoro The two daughters of Tri Handoyo Bangun to Winnie Padnecwara and Dita and Saini actively participated in the mask Andika Raja Padmi has not been finished. puppet performance in Malang on a regio- The learning and inheritance process runs nal, national, and international scale and throughout the lives of these young artists, also participated in dance training con- especially when it comes to Malang mask ducted at Padepokan Asmoro Bangun on puppet which requires mastery not only children in the neighbourhood of padepokan in dance, but also puppetry, the ability to and tourists or visitors who came. It was make masks and play music. The puppe- stated by Winnie Padnecwara (interview teer is considered as the central figure of on 29 May 2018) that the learning of dan- the show leader and the arts community, cing and Malang mask puppet was carried the musical accompaniment is a repre- out from 3.5 years old while Dita Andhika sentation of prayer, while the mask is the Raja Padmi started at the age of 5 years. spiritual and most sacred point in Ma- Winnie said that the interest in the shadow lang mask puppet. So, the heirs of this art puppet mask was due to seeing what was should master each of these fields as being done by parents especially Tri Hando- done by generations before them. Howe- yo, while according to Dita (interview on ver, both Winnie (15) and Dita (12) are still May 29, 2018), many friends learned Ma- at a relatively young age to master the en- lang mask puppet, or more precisely dan- tire field of the Malang mask puppet, so cing mask in Padepokan Asmoro Bangun the process of inheritance to the two from also motivate him to study Malang mask the dance field. Moreover, in Malang mask puppet more diligently. Besides, the factor puppet, it is required for artists in sharp- that almost all family members are dancers ness and mental processing called waskito and performers of Malang mask puppet (Melany & Nirwana, 2016). So that the in- art also motivated the learning process of heritance of the Malang mask puppet art Tri Handoyo’s two daughters. In additi- in Padepokan Asmoro Bangun is a lifelong on to Tri Handoyo and Saini, other family process. members such as their uncles and aunts The inheritance of the Malang mask or children also actively become mask puppet performed by Padepokan Asmoro puppet performers in Padepokan Asmoro Bangun towards their family or descen- 78 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-83 dants not only emphasizes the ability as followed by several regions such as Pasu- an artist but also the attitudes that must ruan, Kediri, Blitar, Tulungagung, Yogja- be inherited by the heirs of the Malang karta, Jakarta, as well as from representa- mask puppet. Based on the results of an tives of other countries such as Thailand interview with Dita (June 29, 2018) that and Myanmar. the desire to teach and maintain the conti- Based on the results of an interview nuity of the Malang mask puppet is done with Soleh Adi Pramono (May 10, 2020), with no strings attached and without even the era of the art community of the Padepo- benefiting materially. The Malang puppet kan Mangun Dharma family began in 1800 heirs are considered to be ready to provide by the great-grandfather of the puppeteer learning wherever they are asked whether Soleh Adi Pramono named Kek Sainten with or without financial benefits. Padepo- (Grandpa Sainten). Kek Sainten establis- kan Asmoro Bangun has experienced six hed a padepokan named Padepokan Mangir times of hereditary inheritance. The heirs because it was located in the Mangir gorge of the Malang mask puppet art from Pade- in Kemulan hamlet of Tulusbesar village, pokan Mangun Dharma from time to time Tumpang sub-district. The return of the dedicated themselves to the development puppeteer Soleh to the Tumpang area and of these traditional arts. So, when talking establishing Padepokan Mangun Dharma about mask puppet, Padepokan Asmo- can be considered as returning to the place ro Bangun is one of the representative art where his ancestors devoted themselves to communities from Malang who has suc- the arts in the Tumpang area. Kek Sainten ceeded in carrying out the process of inhe- has been involved in traditional arts sin- ritance to date. In addition to the hermita- ce the leadership of RAA Surya Adinin- ge named and built by Karimun in 1982, grat who is known for his support of the another hermitage in Tumpang named Pa- Malang mask puppet art and Mbah Reni depokan Mangun Dharma is also another (Grandma Reni), a prominent and res- representative of the Malang mask puppet pected mask artist in the Polowijen area. art. Kek Sainten learned the art from Ki Abu- Padepokan Mangun Dharma is loca- nawas in Bunder village. ted on the slope of in Tulus The son of Kek Sainten named Besar village, Tumpang District, establis- Gartam had a community of Mask Puppet hed under the name ‘Mangun Dharma’, continuing the dedication of his parents. taken from the name of the street where Gartam then became the regent of Ma- the padepokan was built in 1989. Padepokan lang and obliged each village to foster the Mangun Dharma is home to a variety of Malang mask puppet activities. Gartam’s Malang traditional arts, but Malang mask efforts paid off within 1820 there were ap- puppet is an icon and the main material of proximately 220 art groups throughout this hermitage (Jannah & Yanuarti, 2019). The Greater Malang. The district emplo- Padepokan Mangun Dharma is known for yees also received mask dance training. providing non-formal arts education to In 1911, Kek Sainten’s son, Kik Roesman, prospective artists who come from fami- continued the leadership of Padepokan lies, surrounding communities, students Tuluayu. Through the dedication of Kik from outside Malang, to foreign countries. Roesman, Malang mask puppet art began The Panji Festival annual event was held to spread in the area of East Malang to the at Padepokan Mangun Dharma in 2001 Tengger mountains. In the Tengger area, (interview on 8 February 2019), which was Malang mask puppet plays a substitute an initiation in maintaining the continuity for the Mahabarata and Ramayana stories. of the Panji culture and its arts. Padepokan According to Pramono (2014: 99-100), the Mangun Dharma then from year to year mountainous area must not perform wa- represents the city of Malang as a parti- yang kulit (shadow puppet) because sha- cipant of the Panji Festival which is also dow puppet actors are taken from Rama- Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 79 yana and Mahabaratha which will feature units, namely: (1) Malang Dance Unit; (2) figures of Pandavas gods and ancestors Wiruncana WTM Unit; (3) Parijati Peda- who must be worshiped, then the role of ling Unit; (4) Ndarumulya Mocopat Unit; ruwatan media of shadow puppet is repla- (5) Kerawitan Unit; (6) Turonggokusumo ced with media of shadow puppets with Jaran Kepang Unit; (7) Banthengan Hand- Panji actors. Malang maks puppet with the hokomulyo Art Unit; (8) Mask Craft Unit; background of the Panji story was held in (9) Shadow Puppet Craft; (10) Fashion and Upacara Sedekah Bumi, Ujar Kaul, and Ru- Makeup Unit (interview on 10 May 2020). watan Lakon Jagad Gumelar. The spread of Until now, Padepokan Mangun Dharma is the Panji story took place in the Tengger led by the puppeteer Soleh Adi Pramono area such as Wanakersa, Ledhok Amba with the help of his son and the heir na- Kedhampul, Dhuwet, and Gubuk Klakah med Supriyono Hadi Prasetyo. which contained the Pabanyola Inscription Looking at the pedigree of the puppe- issued by Kadewangurwan in Madhalan, teer family, Soleh Adi Pramono shows that Pajar village. Malang Mask Puppets are the heirs of this family spread the arts to also scattered in the Ngarai Valley such several regions in The Greater Malang. as Nggedhok Codho, Jambesari, Karan- The puppeteer Soleh decided to return ganyar, Kidhal, Glagahdowo, Tamiajeng, to Tumpang and established Padepokan Jabung, and other areas. Mangun Dharma because it coincided In 1928-1935, Kik Roesman’s son with the Tumpang area which was plan- Tirtowinoto took over the leadership of ning the formation of the Bromo Padepokan Tuluayu. Tirtowinoto played Tengger National Park Tourism Working a major role in the dissemination and pre- Group. Kemulan hamlet is right between servation of the Malang mask puppet in Jago Temple and Gunung Tabor Tumpang East Malang and was later called by the Tourism lodging as SBT National Park Konsevatori Karawitan Indonesia (Indo- Transit Tourism. Mask puppet was held nesian Karawitan Conservatory) in Sura- as an art performance that was presented. baya and provided dance, Karawitan, Until the year 2000, Tulusbesar village re- Iringangan, and Pedhalangan Wayang ceived the Cultural Arts Tourism Village Topeng Malangan (Malang mask puppet Award. This has encouraged many mask performance). Surabaya then has the Ma- dance students to come both from within lang Mask Puppet Competency Standards, and outside the country. Besides, another which is one of the contributions of Tirto- personal reason that the Kemulan hamlet winoto, the uncle of the puppeteer Soleh is the origin of the puppeteer Soleh’s fat- Adi Pramono. Precisely, in 1935, Padepo- her, Sapari. kan Tuluayu was replaced by Padepokan The puppeteer Soleh said that the Pencak Silat and Mocopat Malangan, led construction of Padepokan Mangun Dhar- by Tirtowinoto’s younger brother, Sapari. ma was a calling of the soul and continued In 1984, Sapari’s son, the puppeteer Soleh the mandate in continuing the socializati- Adi Pramono, built a new hermitage. The on of Wayang Topeng Malangan, Wayang padepokan built by the puppeteer Soleh Kulit, and Mocopat Malangan. As a des- Adi Pramono is the third hermitage of this cendant of the puppeteer, Soleh Adi Pra- family. The puppeteer Soleh also owns the mono holds the status of a true puppeteer Malang Mask Puppet Association named and has an honorable status in the com- Wiruncana Mocopat Ndarumulya in Gla- munity and the local artist community of gahdowo. This Padepokan named Pade- Malang. The puppeteer Soleh (interview pokan Mangun Dharma which is located on 8 February 2019) explained that sta- on Jln. Raya Mangun Darmo No.8 Rt/Rw tus as a true puppeteer gives the right to 28/03 Kemulan hamlet, Tulusbesar villa- hold ruwatan (ceremony to reject disaster). ge, Tumpang sub-district, Malang. Pade- This was inherited by the puppeteer Soleh pokan Mangun Dharma consists of several from his uncle Tirtowinoto who was kno- 80 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-83 wn and believed to be the puppeteer. In Supriyono Hadi Prasetyo, his eldest son his time, Tirtowinoto was the main choice was a partner in running Padepokan Man- in holding a ruwatan ceremony (Hidayat, gun Dharma. The puppeteer Soleh and his 2019). In the eyes of the puppeteer Soleh, son had a lot of discussions, wrote books Ki Roesman and his uncle Tirtowinoto are together, and put on shows. Supriyono artists who aspire to the return of Malang studied art from an early age of three yea- mask puppet in their fostered areas. Ma- rs. Supriyono deals with art as a descen- lang mask puppet suffered a setback and dant of artists and vocations, (interview gradually disappeared from 1945 until its on 10 May 2020). Actively and routinely, peak stopped in 1965. In 1976, the govern- Supriyono watched the performance of the ment began to revive Malang mask puppet Malang mask puppet and then practiced and one of the students from Tirtowinoto the results of his learning. The self-taught named AM Munardi, a teacher at Suraba- learning from the puppeteer Soleh and ot- ya High School took part contribute to this her artists was then continued by Supriyo- effort. no through formal education by majoring In 1972 after graduating from high in Pedalangan. Nevertheless, puppetry is school, the puppeteer Soleh studied at not the only field occupied by Supriyono KONRI (Conservatory Karawitan Indo- Hadi Prasetyo, but also in the fields of dan- nesia). The puppeteer Soleh worked as ce, music, macapat, drawing, and singing. an employee of the Kasi Culture technical However, the inheritance of mastermin- staff, Ministry of Education and Culture ding skills learned by Supriyono was self- Malang in 1975-1979. In 1979, the puppe- taught and formally marked the success teer Soleh then majored in dance at the of Padepokan Mangun Dharma in pas- Yogyakarta Art Institute and graduated sing down every element of Malang mask as a dance graduate in 1984. The puppe- puppet to the descendants/family. As said teer Soleh also studied the Malang mask by the puppeteer Soleh, Supriyono Hadi puppet art in several prominent artists and Prasetyo is not only an heir to the family puppeteers in Malang following his uncle arts but a partner in running and preser- Tirtowinoto, Mbah Karimun (Kedung- ving the traditional arts of Malang. monggo), Mbah Samoed, Mbah Rasimun, The puppeteer Soleh Adi Pramo- Mbah Kimun, and Mbah Jakimen. The no not only succeeded in the process of puppeteer Soleh (interview on 8 February inheriting art in a lineage. Together with 2019) also said that he studied art in Ma- Supriyono Hadi Prasetyo, Padepokan dura by occasionally quoting some songs Mangun Dharma contributed to the inheri- in Madurese when he was met at his place. tance of traditional art on the general pub- The puppeteer Soleh had been a lecturer at lic. According to the puppeteer Soleh, Pa- IKIP Malang (now Malang State Universi- depokan Mangun Dharma (interview on 5 ty/UM) in 1984-1992. The puppeteer Soleh May 2020) called students from prominent decided to stop teaching formally at IKIP artists such as Kek Tirtowinoto, Mr. Gi- Malang in 1992 and preferred to pursue mun, Mr. Rasimun, Mr. Djakimin to provi- his activities as an artist. It was stated in de learning to male/female students. The his profile in the book Drama Tari Wayang term cantrik/mantrik for students who stu- Topeng Malang (1997) that the puppeteer dy traditional art in Padepokan Mangun Soleh also fostered foreign students from Dharma follows the term nyantrik, which Japan and America in collaboration with is the tradition of traditional art learning Merdeka University of Malang who was in Indonesia (Martono, 2011). The process studying the Malang tradition art. of inheritance in the community is imple- Supriyono Hadi Prasetyo is the next mented through activities such as the Indo- heir of the arts from the puppeteer fa- nesian tour which is funded directly by the mily Soleh. In an interview (February 8, provincial government of , and 2019), the puppeteer Soleh mentioned that the City and Regency Arts Council of Ma- Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 81 lang. The process of inheritance is also car- ma in Tumpang and Padepokan Asmoro ried out through mass dance performances Bangun in Pakisaji have succeeded in car- played by school children, giving work- rying out the process of hereditary vertical shops and lectures to artists, government, inheritance in the family, as evidenced by KNPI, scouts, dance studios, and art/dan- the existence of the heirs and the mainte- ce teachers. Various other activities such as nance of traditional art practices to date. the writing of a book about the puppets of Between the two padepokan, there is coope- Wayang Topeng Malangan, Wayang Kulit, ration, mainly according to the puppeteer Manten Malang, and Karawitan Malang. Soleh as a form of interaction between the Even Padepokan Mangun Dharma routi- padepokan that their ancestors left behind. nely provides training in making masks The puppeteer Soleh Adi Pramono him- and dances for school children both from self is a student of Mbah Karimun, foun- domestic and abroad. Activities promo- der of Padepokan Asmoro Bangun. Each ting the mask museum were also carried hermitage must work hand in hand in out in Indonesia, Los Angeles, America, the process of the inheritance for the pre- and Australia. Every year, many students servation of Malang’s traditional arts. In from Australia come to Padepokan Man- 2001, all hermitages in the Greater Malang gun Dharma to learn about Malang Mask. recorded a video about the Malang mask The inheritance process is not only puppet as a form of documentation. In carried out by the main family of the 2000-2005, for example, Padepokan Man- puppeteer Soleh Adi Pramono, but also a gun Dharma annually invited groups of large part of this family. These processes associations to give periodic performances are assisted by Soleh’s sister named Tu- on every Sunday. However, the activities riani who has a Tarib and Karawitan Stu- were considered useful in generating spi- dio in the Tumpang area, and a younger rit, togetherness, and motivation to advan- brother named Djumikarah who runs the ce each group stopped after five years due Ganesha Bokor Mudra Studio in Turen, to limited funds. Inheritance efforts among Malang. The process of inheritance aimed hermitages, artists, and trainers are also at preserving and maintaining traditional carried out through the issuance of gui- arts is the mission and great dedication of dance books on mendalang, karawitan, dan- the puppeteer family of Soleh Adi Pramo- ce, gendhing, costume arrangement, and so no. Every month, a dialogue called “Bu- on. Dance, karawitan, mask-making lessons daya Tunggul Wulung Malang”, Cultural were also carried out. Padepokan Mangun Dialogue at Cafe Mesem and Tumpang Dharma also contributed to the production Gallery. Dance, karawitan, and traditional of plays, gendhing, vocals, and role charac- music performances are held to increase teristics, as well as the instructor’s media the mask mascot network throughout In- in the form of a script that must be un- donesia. Padepokan Mangun Dharma also derstood by the casts in the Malang mask provides performing arts services both at puppet. This activity was supported by home and abroad. Students often come to Malang State University, Department of Padepokan Mangun Dharma to conduct Dance, and other Arts Colleges in Indone- guidance and study assignments. Accor- sia through workshops, discussions, and ding to The puppeteer Soleh, through TV Mask Culture interaction visits. Panji which was worked on by Semar Su- However, said by the puppeteer wito Surabaya, art appreciation activities Soleh (interview on 5 May 2020) that the by the young generation are more likely to challenges faced by artists and hermita- occur. ges lie in the lack of script bank writing, These activities are the embodiment as well as the recruitment or number of of the horizontal inheritance process car- viewers who love the performance and art ried out between artists, as well as the of Malang mask puppet. Furthermore, the public. Both Padepokan Mangun Dhar- government is considered to be half-me- 82 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-83 asures in support of fostering, especially but also set attitudes and knowledge that in old artists and art groups. This causes reflect the noble values of traditional art. no promotion given to these artists and art In the process of horizontal inheritance, groups. The government is still too focus- artists strengthen cooperation and toget- ed on schools and art galleries. Appreciati- herness with the same standards and go- on of the government in the Malang mask als. Padepokan plans ways and media to puppet was still small, exemplified by their inherit the public, using both technology absence in meeting the invitation of artists media and traditional methods. Padepokan or hermitage. According to the puppeteer expects cooperation with the government, Soleh, in the future, Padepokan Mangun educational institutions, researchers, ob- Dharma plans to provide WTM Learning servers of arts and culture in the process and Performing Practices (through the so- of inheritance. Although showing a simi- lid and concise work performance and can lar inheritance model, Padepokan Asmoro be accounted for in terms of its artistic/ae- Bangun and Padepokan Mangun Dharma sthetic). Padepokan Mangun Dharma will show one difference. In its history, the offer the claim to the art teachers and art heirs of the Padepokan Asmoro Bangun community found in the school. family settled and dedicated themselves to Padepokan Mangun Dharma in Pakisaji sub-district, while members of the Tumpang and Padepokan Asmoro Ban- Padepokan Mangun Dharma family mo- gun in Pakisaji are two examples of two ved around and spread from one region to successful hermits in the process of inhe- another, with the mission of spreading the riting the Malang mask puppet. Both the- arts throughout the eastern part of Malang. se hermitages become a historical part of the development of Malangs traditional REFERENCES arts, specifically Wayang Topeng (mask puppet). Cahyono, A. (2006). Pola pewarisan nilai- nilai kesenian tayub (inheritance CONCLUSION pattern of tayub values). Harmonia: Jurnal Pengetahuan dan Pemikiran The history of the inheritance of Seni, 7(1), 23–36. mask puppet traditional art performed by Hidajat, R. (2005). 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