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Towards the Embodiment of the Mask Balinese Topeng in Contemporary Practice

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Towards the Embodiment of the Mask Balinese Topeng in Contemporary Practice Towards the Embodiment of th Balinese Topeng in Contemporary Practice A dissertation submitted in fulfilment of the requirements for the degree of Doctor of Philosophy by Carmencita Palermo School of Asian Languages and Studies University of Tasmania March 2007 Declaration of originality This thesis contain no material which has been accepted for a degree or diploma by the University or any other institution, except by the way of background information and duly acknowledged in the thesis, and to the best of the candidate's knowledge and belief, no material previously published or written by another person, except where due acknowledgement is made in the text of the thesis. Carmencita Palermo Date: 10- Statement of Authority of Access This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Carmencifa Palermo Date: 1 — ABSTRACT Towards the Embodiment of the Mask. Balinese Topeng in Contemporary Practice. This thesis explores the process of mask characterisation in Bali as expressed in performances and in the views of individuals. The polyphony of voices of performers, officials, cultural analysts and village audiences gives multifarious expression to a sense of cultural identity. This identity is in continuous flux, as topeng masked dance drama reflects the way in which Bali itself is changing in the contemporary world. Starting with an analysis of the performative principles of masked dance-drama practice, with each chapter I analyse a broader context of the relationship between these basic performative principles and daily life. The performers' voices interweave with written discourse on Balinese culture, depicted as in increasing need of protection. Balinese culture (and dance as one of its manifestations) has had to be protected by separating what is truly linked to Balinese tradition (mainly based on religion) from what is not. The separation, at discourse level, has created two domains; one sacred, fixed and exclusively Balinese, and one profane, flexible and able to be "contaminated" through interaction with the outside world. II Balinese topeng moves between these domains. In its increased role within ceremonies it reinforces essential Balinese identity, also the subject of intense media discourse in the post-Bali bombing period. At the same time, as part of the entertainment domain, topeng becomes a medium for reinterpreting traditional concepts and affording performers new freedoms. Recently comedy and laughter, predominating in performances for entertainment and also intruding into the ceremonial domain, have been interpreted by some as empty escapism. Is this indeed how the laughter should be interpreted, or do its capacities to heal trauma and provide release from the pressures of chauvinist cultural discourse connect at a deeper level with contemporary Balinese social reality? Another contemporary development, posing questions for the future of topeng form, is the involvement of women. Women now participate in topeng both for entertainment and ceremonies, but so far have not taken on the most sacred mask. Will they do so in future? Can the basic principles of Balinese performance and cultural identity be extended to allow women to help create harmony with nature through unity with the mask? ACKNOWLEDGEMENTS Even though this research officially started in 2002 at the School of Asian Studies of the University of Tasmania, Australia, draws on data I have been collecting since I first went to Bali in 1993. In fact I can not separate my experience of being a PhD candidate at an Australian university from being a student at an Italian university (Performing Arts at the University of Bologna), a Balinese one (as dance student at the STSUISI Denpasar), a Maltese one and a Dutch one (Leiden, CNWS) or an employee at the Italian Culture Institute, Jakarta and a lecturer at various Jakarta universities. I would like to thank all those who supervised and supported me during those years and made me desire and believe in the feasibility of writing a PhD in a foreign language. This work would not exist without all those who welcomed my curiosity, my will to learn about the mask and its wearer. They are spread all over the world, but most of them are in Bali. This work is about my interaction with those in Bali and especially those who agreed to transmit some of their knowledge to me. This work is my story about their stories, those stories that they have chosen to tell me. Mentioning them in the following text implies thanking them for having supported me in this journey. Nevertheless this is not the only space where I thank all those who made this work possible; I thank all those I mention in the main text of this thesis and all those who I met and nurtured my thoughts even just with a casual chat. First I would like to thank those who have passed away, I Nyoman Tusan and I Wayang Loceng, and their families, and my dance teachers from the Institute of Indonesian Arts (Institut Seni Indonesia, ISI) I Komang Cerita and his family, I Ngurah Sweka and his family and I Ketut Suteja. I would like to thank all the iv friends I made during my learning period at the ISI, students and dance instructors, and in particular I Made Bandem without whom I would never have thought to spend such a long time in Bali studying dance. Also I Wayan Dibia who has guided me since the first time I went to Bali. My teachers who welcome me as part of their families: I Made .Sija who first welcomed me in Bali and I Ketut Kantor who taught me patiently day after day and Ida Bagus Alit for initiating me into mask -making work and always being available to satisfy my curiosity. Thank you to I Wayan Tangguh, I Ketut Kodi, Ida Dayu Diastini and to the rest of the family who for years always made me feel at home and for the endless conversations and dance practice. Thank you to Ni Nyoman Candri for welcoming to her house as part of the family and trying to teach me to sing. Thank you also to I Kadek Suardana and all the friends from Arti Foundation, in particular Ulf Gadd, for their friendship and help in the moments of need; to the friends from IMC especially Elisa DeJesus and I Putu Cede Teryl Adnyana; to I Wayan Wija and Antonella De Santis who were always generously there for me; Pino Confessa, my precious friend with whom I shared ideas, long talks and work; Made Ayu Lingriati (Epoeng) and I Gst. Md Dana Suparyana (Gus Dan) who have not only been great friends since my first years in Bali but who have also helped me in transcribing about 30% of the interviews, in correcting the translations of performances and video-recorded interviews when I could not be in Bali. Thank you to Helly Minarti and Mark Hobart for the impassioned conversations. A special thank you to Laura Noszlopy for her friendship and academic encouragement and to .Brett Hough without whom I would never thought to write a PhD. Thank you to my parents and brother and sister not only for their loving support but also for hunting for references long forgotten and in particular my brother Dario who initiated me in digital video-editing. In Launceston things would had been more difficult without the generous friendship of Sascha Kielar-Coe. At the University of Tasmania I cannot forget the IT experts and especially Richard Barker. Thank you to Russ Kerr for his support and bibliographical suggestions. The thesis would have had an even greater Italian flavour without the help of Maria Flutsch who generously assisted with editing, even at an enormously busy time in her life. Thank you to Pam Allen for her collaboration in research related to and the checking of Chapter III, to Brian Belcher for proof reading and Emily Willams and Graham Wood for last-minute corrections. This thesis could not be written in the way it is, or perhaps at all, without my supervisor, Professor Barbara Hatley. Barbara has encouraged me by believing in my ideas and patiently working to help me shape them into concrete form, with all the difficulties of my not being a native English speaker. She selected me for a special scholarship (thanks, too, to the University of Tasmania), supported me during the emotional ups and downs, and shared the special features of living in Launceston and making things happen in spite of everything. vi CONTENTS ABSTRACT II TOWARDS THE EMBODIMENT OF THE MASK. BALINESE TOPENG IN CONTEMPORARY PRACTICE. II ACKNOWLEDGEMENTS IV INTRODUCTION 1 LEARNING BY DOING: PERSONAL EXPERIENCE BETWEEN THEORY AND PRACTICE 1 Learning through moving 5 Dialogical learning and East-West terminology 8 Previous works on Balinese topeng 12 Focusing on the performer's consciousness 14 Balinese topeng: is it a performance? 18 From Turner and Schechner: the Efficacy-Entertainment Braid 20 From Schechner to Emigh: the relationship between performance and daily life 22 The use of performers' voices 25 Collecting voices 26 Structure 26 A note on the video accompanying the thesis 30 CHAPTER I 33 THE BODY TAKES FORM IN BALINESE MASKED DANCE DRAMA TOPENG 33 Learning mask-dance: personal experience 36 Further learning: the source of movement 36 Theatre terminology between East and West: an example 39 Interviewing performers: verbalisation of characterisation process 40 Introducing the terms 41 Marrying the mask: I Ketut Kodi — practical steps 42 I Gusti Ngurah Lanang Sideman and Ida Bagus Alit: ceremonial aspects of marriage 46' I Made Sija: masks are just tools, thought is the thing 48 I Ketut Kantor and I Gust! Ngurah Windia: thought and oneness 51 Ida Wayan Jelantik Oka: the life of the movement— taksu 54 Going deeper — other voices speaking of taksu 55 Gaining "secret knowledge" 58 Clarifying the secrets: I Made Bandem 64 Secret knowledge embodied: performers' practice 66 Cosmological principles explained 69 Back to the performer's body 72 CHAPTER II 74 DE-SACRALISING AND RE-SACRALISING TOPENG: UNFOLDING THE DISCOURSE ON SACRED DANCE 74 From colonial encounter to self-definition 75 A culture in danger: discussion of "Balinese identity" 77 Language issues 78 Seni sakral dan pro fan, sacred and profane art.
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