Harmonia: Journal of Arts Research and Education 19 (1) (2019), 18-28 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.v19i1.16101

Malang Mask Puppet in Era of Globalization: Social and Cultural Impact

Arining Wibowo

Department of Culture Studies, Faculty of Social and Communication, Universitas Kebangsaan,

Received: March 15, 2019. Revised: May 16, 2019. Accepted: June 19, 2019

Abstract

This article discusses socio and cultural impact as an effect of the commercialization of mask puppet in the era of globalization. Padepokan Seni Asmoro Bangun located at Kedung- monggo Hamlet Malang modifies the art of Malang mask puppet in order to turn the function of traditional art from ritual to the commodity. This research method is qualitative by using observation, interviews, and documentary studies for data collection. The result shows that modification creates three impacts, social and cultural impacts, also the occurrence of new senses in terms of Malang mask puppet includes creativity, prosperity, education, aesthetic, conserva- tion, and identity sense.

Keywords: commercialization, socio, profane, cultural, impact, Malang mask puppet

How to Cite: Wibowo, A. (2019). Malang Mask Puppet in Era of Globalization: Social and Cultural Impact. Harmonia: Journal of Arts Research And Education, 19(1), 18-28.

INTRODUCTION humans to socialize both with their fami- ly and social environment. Oral tradition According to Suparlan as cited by was being considered as a communication Prasetyo (2017) cultural change is the turn medium. The impacts of oral tradition for of idea system of society which consists of society and their environment simply hap- rules, norms, values, and technology. The pens by watching, listening, and enjoying cultural change is the impact of moder- art performances. nism. The flow of modern life influences Oral tradition alongside its content the surrounding society of Kedungmong- includes meaning, values, cultural norm, go Hamlet, as well. The and local wisdom which is being stated by art of Malang mask puppet which was Sibarani (2014) is about “remembering the once precious and sacred art turns to be old past, understanding the present, and pre- fashioned and ignored local art. Malang paring the future”. Malang mask puppet mask puppet was once oral tradition and as the oral tradition of Kedungmonggo sacred art which was being considered as a Hamlet was functioned as a bonding of so- tie between humans and god and humans lidarity of its surrounding society. Accor- and relatives and his/her surrounding ding to Kayam cited by Safarudin (2014, society as well. As explained by Sibarani p. 169) that society will understand their (2014, p. 54) that oral tradition encourages values and behaviour pattern form tradi-

 Corresponding author: Jl. Terusan Halimun No 37 Bandung, Indonesia E-mail: [email protected]

18 Arining Wibowo, Malang Mask Puppet in Era of Globalization: Social and Cultural Im- 19 tional shows. The art of Malang mask puppet in- But, globalization and development cludes dance and story performed by va- bring society to the various side of reali- rious masked figures. Based on Javanese ty such as comfort, pleasure, appearance, ethnic society, this art is considered as an and freedom of desire. On the other side, old traditional art due to the occurrence Gildens (2001) predicts the existence of since the IX century (Timoer, 1980). In the “huge threat in form of private meaning show of Malang mask puppet, the dan- emptiness” as the impact of the lost of cers wear masks or kedok which cover their values and wisdom of the past (Ritzer & faces. Dancers play their characters by Goodman, 2012, p. 610-611). Moreover, the the guidance of the narrator (dalang). Ac- development of modern art in the form of cording to Kartodiharjo dance of Malang new amusement of television and the in- mask puppet formerly functioned as a reli- ternet, which caught the attention of the gious ceremony for Hinduism at the era of young generation influences oral traditi- Majapahit emperor and tradition such as on, Malang mask puppet as well. Malang animism, shamanism, and the worship of mask puppet once was forgotten. But then, ancestors (Timoer, 1980, p. 11) nowadays Malang mask puppet tries to The tradition of masked dance exist and survive in the era of globalizati- functions as worshipping was being con- on due to the effort of several art studios sidered as a medium to free human from (padepokan) and artists. danger and get protection from their an- Even though Malang mask puppet cestor. The arrangement of this ceremony is being revitalized, according to Pratis- was being considered as the prevention to (2017) mask dance nowadays is being of disaster and obstacles in man’s life. The held in order to entertain audiences, whe- importance of masks and the role of the reas at the ancient ages it functioned as a puppet was viewed as an absolute element sacred procession. The values of this oral of their life. At that time, Malang mask tradition to worship god and ancestor puppet grew and was considered as the fade away. Malang mask puppet has been appropriate art of the era. Malang mask out of its real context. Moreover, the aim puppet was admitted as a tradition to wor- of the Malang mask puppet performance ship ancestors’ spirits. But then according as an entertainment medium is to make a to Timoer (1980: 13) the realization of the profit. Malang mask puppet has become a ancestor’s spirit changes. Alongside the re- commodity and traded product. The high vitalization, the simple shape of the mask frequency of tourism promotion of the go- turned to the smoothen and more beauti- vernment of Malang turns the art to the ful shape. The function of mask changes assets for the development of the regency. as well, formerly as a medium of religious According to Brandt T (1997) the centrali- ceremony to the medium of art show (Ti- zed administration, better infrastructure, moer, 1980, p. 14). and better lifestyle are preferable in or- The growth of moderate Islam and der to operate larger cities. Factors such the development of modernism influen- as education, transportation, mass media, ce the changing function of Malang mask communication and other sectors as well puppet. Padepokan Seni Asmoro Bangun, are related to the change of socio-cultural is located at Kedungmonggo Hamlet, Pa- aspects of society. As revealed by Pitana kisaji, Malang regency, one of the art stu- (2015, p. 115) that tourism influences the dios which still maintains Malang mask socio-cultural life of society, but other fac- puppet. Malang mask puppet is succeeded tors take part in changing the condition of to change its function from sacred to the the socio-cultural as well. The change of profane art. Thus, Malang mask puppet re- Malang mask puppet brings several both gains its position in society and spreads its positive and negative impacts include so- popularity. Growth and development of cial, profane, and cultural impacts. Malang mask puppet in Kedungmonggo 20 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 18-28

Hamlet is started by Mbah Karimun and is the main artist in the mask puppet per- inherited by Kek Serun, a great-grandchild formance. Dalang functions as director, the of Mbah Karimun. According to Hidayat writer, narrator, singer, music arranger, (2008, p. 29), Kek Serun and another gran- stage arranger, and dancer as well. As a dchild of Mbah Karimun participate to narrator, dalang must have skills in cont- develop the art of Malang mask puppet at rolling janturan (description about king or Kedungmonngo Hamlet. They gather and empire which is being narrated in form of become dancers, players of gamelan, mask poetry or specific monolog), cariyos or kan- crafter. They have been faced with various da (story), gunem or pocapan (the figures of and dynamic conditions, up and down for dialog), suluk (Javanese poetry with special 25 years. rhythm), dhodhogan (controller of musical The rise of Malang mask puppet composition of gamelan), and kepyekan or began in the middle of 1970. Both old and kepyakan (Supriayanto, 1997, p. 79). The young generations participated and held main dalang of Padepokan Seni Asmoro many shows in several big cities in Indo- Bangun is Kasnam who has been trusted as nesia. In 1978, dancers of Kedungmonggo the best Javanese narrator of mask puppet Hamlet held a performance in the presi- because of his acknowledgment of pakem dential palace at the era of President Suhar- of Malang mask puppet. Dalang has an im- to. In 1980, Kedungmonggo Hamlet reno- portant role because the success of Malang vated Malang mask puppet. They renewed mask puppet performance depends on the quality of movement, performance, him. and products of Malang mask puppet. The The puppet child is a team of actor result of this effort succeeded to brings who has good skill in mask dance. They Malang mask puppet to get a predicate as have double roles because the costume ar- a local asset of Malang tributed by the Go- rangement of Malang mask puppet is pos- vernment of Malang. As admitted superior sible to wear by double roles characters. local asset, the government of Malang usu- The change of character needs only a chan- ally ask Kedungmonggo mask puppet to ge of mask (Supriyanto, 1997, p. 81-82). participate in several festival and cultural The number of puppet children depends event in order to promote their local tou- on the story and the price of the show. rism (Hidayat, 2008, p. 42). Thus, because The story of Walang Sumirang Walangwati, of the growth of Kedungmonggo mask for example, has eight persons as puppet puppet, the member changed its name to child. be Padepokan Asmoro Bangun. Asmoro Panjak or gamelan music player is Bangun is named after the main figure of a group of gamelan player accompanied Malang mask puppet, Panji Asmoro Ban- by the choir in the show of Malang mask gun (Safarudin, 2003, p. 36). Now, Pade- puppet. Panjak of Padepokan Seni As- pokan Asmoro Bangun is under the lead of moro Bangun is group of local people of Handoyo, as the heir of his pioneer. Kedungmonggo Hamlet who have known In the performance of Malang mask the art of Malang mask puppet. puppet, there are several pieces of equip- Gamelan is the intruments of mu- ment needed to create a high quality of sic. In the performance of Malang mask the art. Supporting equipment owned by puppet usually includes laras slendro or la- Padepokan Seni Asmoro Bangun includes: ras pelog. While for East Javanese puppet, Javanese Narrator called as dalang, puppet laras slendro is usually preferable. The se- child, gamelan (Javanese music instru- ries of gamelan are: bonang balok, bonang ments), gamelan player, stage, and costu- penerus, demung, saron, peking, gender balok, me. gender penerus, gambang, kendang, kethuk, The meaning of Javanese narrator kenong, kempul, and gong (Supriyanto, 1997, or dalang is a particular person who has a p. 88-89). Whereas, gamelan which is usu- special talent in playing puppets. Dalang ally used at Padepokan Seni Asmoro Ban- Arining Wibowo, Malang Mask Puppet in Era of Globalization: Social and Cultural Im- 21 gun is more simple includes kenong, ketuk, Malang mask puppet as an oral tradition gong,bonang penerus, bonang babon, kendang, to the art product which can be traded. In saron, peking, and demung. The arrange- qualitative research, the approach of the ment of musical instruments and stage is researcher does not have refer to the dicho- aimed to make dalang easier to manage the tomy of true or false, but rather stressing flow of the show because dalang needs to on the approach of the researcher itself unite panjak and dancers of Malang mask (Ida, 2016) puppet. Techniques of data collection are The stage is a part of important including observation, interview, and do- equipment to support the success of show cumentary study. Observation is aimed performance. In Malang mask puppet, the to see and observe the changes of the gro- stage can be in the form of a permanent or wing social phenomena, thus the change temporary stage. The arrangement of the of assessments needed, for the observer to stage depends on the demand of audien- observes certain moments, then separates ces. The setting of the show influences type necessary data (Margono, 2007, p. 159). of stage, while the show holds in a buil- According to Kurnia (2007), infor- ding and appropriate place available to mation taken from observation includes arrange gamelan, other properties, and de- the doer, location, activity, object, action, coration, the crew does not need to prepare incident, and time. The use of the obser- a stage (Timoer, 1980, p. 73). Oppositely, if vation technique is aimed to displays the the show holds at the yard, the crew needs realistic description of the work and event, to prepare a temporary stage which is usu- to answers questions, helps human beha- aaly called as terop. The model of the stage viour, and evaluates and measures certain usually prepared for Malang mask puppet aspects and gives feedback to the measure- performance by Padepokan Asmoro Ban- ment. The use of observation is conducted gun is in form of pendapa. by directly observe the activity and process Padepokan Seni Asmoro Bangun in the field especially at the time of Malang provides costumes for puppet children for mask puppet performance show. Obser- the show of Malang mask puppet. Supriy- vation is conducted also at the time when anto (1997, p. 89) divides costume of Ma- there is no performance show to obtain the lang mask puppet into seven parts, include situation and information in terms of the 1) head embellishment such as jamang, skill of the Malang mask puppet doer. udeng, fabric to cover head, and wig 2) ear The interview is conducted by the re- embellishment such as sumping, 3) masks searcher in the next step. The aim of the in- as face embellishment 4) neck embellish- terview according to Nazir (1988) is a pro- ment includes kace necklace and sampur, cess of getting information in research by 5) hand embellishment includes klat bahu giving a question and asking answer face and dekes, 6) body embellishment such as to face among the interviewer and infor- kace, stagen, timang, keris ladrangan, and mant. Interviewers as a technique of data 7) foot embellishment, pants, rapek, socks collection use tools named as an interview and gongseng. Mask functions as the main guide. The interview is conducted by com- complement of Malang mask puppet. The municating with the data source. Commu- shape and color of the mask show the cha- nication is conducted by question-answer racteristic of the figures. orally whether direct or not (I. Djumhur & Surya, 1985). While according to Walgito METHODS (1987) interview is one of the methods to collect data both from child and adult by Qualitative method is used in this holding direct relation to the informant. research. The study focuses on the wor- Sukardi (1983) stated that the interview ker, artist, and society of Kedungmonggo is a tool to get data or facts or informati- Hamlet in terms of their effort to modify on from students orally. The interview is 22 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 18-28 conducted to get the data needed (Winkel, Malang Mask Puppet 1995). The positive impact which can be Researcher conducts interview to considered as the social aspect of the modi- the several respondents, they are Hando- fication process of Malang Mask Puppet is yo (owner, manager, doer, and crafter of the increase of income and living standard. Malang mask puppet at Padepokan Seni The surrounding society of Kedungmong- Asmoro Bangun), Tombro (doer and dan- go Hamlet uses Malang Mask Puppet as cer of Malang mask puppet), Sunari (doer their choice of daily occupation. Society in- and art observer of Malang mask puppet), cluding children, teenagers, and the elder- and Balok (art observer and researcher of ly learn to dance dan carve the mask. The- Malang mask puppet). se people live near to the Kedungmonggo The documentary study is the Hamlet compete with each other to sell technique of data collection that is con- their product. As a show which is being ducted by the researcher to get data based performed once a month usually in Mon- on the historical dan developmental pro- day-Legi (based on Javanese calendar) and cess of Malang mask puppet. Definition called as gebyak senin legian, Malang mask of the document according to Gottschalk puppet attracts the society to participate. (1986, p. 38) is the authentication process Tombro, one of the data resources said: based on written, oral, description and After Handoyo handles Seni Asmoro archeology. According to Bungin (2007) Bangun (name of one of traditional dance documentary study is one of the methods art studios in Malang), the mask becomes conducted in the qualitative approach to not only art but also a resource of a job. The tract historical data. The documentary stu- job of product masks is now considered as dy helps the researcher to decide the level a job, no longer becomes only part-time job of credibility of the researcher based on [Tombro, 35]. the existed documents. The documentary Moreover, the decrease in unemp- study is conducted by the researcher by loyment is another positive impact. The finding and seeing directly to the show of bonding of togetherness and awareness Malang mask puppet and the production to help each other event and performan- of the skilled art of Malang mask puppet. ce of Malang Mask Puppet can be consi- The documentary study is also conducted dered also as another social impact of the to find the change and shape of Malang modification. After Handoyo succeeds in mask puppet at Padepokan Seni Asmo- bringing Malang mask puppet to perform ro Bangun and at several places such as internationally, the people of Kedung- Inggil restaurant where the display of va- monggo including the elderly, children, rious faces of Malang mask puppet can and teenagers compete to participate. They be found. The documentary study is con- assume that they can be productive by sel- ducted to find several references in the ling the assets through creation of tradi- form of books and information related to tional art. After Kedungmoggo Hamlet is the Malang mask puppet in Malang public signed as Kampoeng Topeng by JTv, many library, bookstore, and internet. visitors come to enjoy the show performan- ce, to study and research. This means that RESULT AND DISCUSSION the modification process of Malang Mask Puppet gives a positive impact whether in The result and finding of this -rese the economic, education, and mass media arch is divided into three clusters, first ex- sector of Malang. plains the social impact of the modification The development and the impro- of Malang mask puppet, second is the cul- vement of Malang Mask Puppet which tural impact, and third explains the senses gives good and positive impact certainly of Malang mask puppet. are being followed by a negative and dec- Social Impact of The Modification of reasing aspect. The modification process Arining Wibowo, Malang Mask Puppet in Era of Globalization: Social and Cultural Im- 23 of Mask Puppet creates two management cycle, and relates to the appeal. But then, systems, the organization, and juragan Malang mask puppet changes the role of (master) system. The organization system the art from the medium of ceremony and assumes to have members but the juragan ritual to the enjoyable performance. system assumes to have workers. This sys- Turning to the entertainment aspect, tem of management indicates the social wayang mask Malang is being marked by and economical gap among the members omitting some sacred values Sunari, one of of Padepokan Seni Asmoro Bangun. The the data resources stated in the interview gap includes a position in an organization in July 2016: setting, income, and job vacancy. Accor- The disappearance of the sacred va- ding to Piliang (2011, p. 429) the segmen- lues of the Malang mask puppet is being tation based on their taste, so it creates the influenced by the inability of the oldge- social contrasts. The contrast and segmen- neration to transform and the young ge- tation system is really complicated and neration to absorb the religious context as different from a person to another. It also well. As the medium of praying, the per- has another difference level: the different formance of Malang mask puppet contains levels of person, class, society, nation, and the worship symbol of God as its basic phi- race. The gap among the members of the losophy. But, nowadays show, the focus organization decreases solidarity and af- turns to the visualization aspect. Religion fects the development of Malang Mask values no longer become the main purpose Puppet. As stated by Suroso: of the ceremony [Sunari, 34]. If Padepokan Seni Asmoro Bangun The modification process of Malang applicants these two systems of manage- mask puppet brings profane impacts. The ment (organization and juragan system), increase of the market demand to turn Ma- the gap among members is hard to be avoi- lang mask puppet to be commodity indica- ded [Suroso, 50]. tes the goal of profit. Padepokan Asmoro The art of Malang mask puppet Bangun commercializes and gets the profit which is rooted in the oral tradition has as the impact of the modification of - Ma deep aesthetic and sacred values. Malang lang mask puppet performance. Tombro, mask puppet is being considered as the me- is interviewed in December 2016 revealed: dium to worship and respect the ancestor’s The show of Malang mask puppet spirit. People held this ritual continuous- nowadays is different. The show follows ly and concerned about faith values. But, the market taste. The limitation of durati- the art of Malang mask puppet faces the on and dancer compress the performance. change of culture from time to time. Be- Tombro mentions the compression fore becoming the art of castle which was of Malang mask puppet as pethilan. Pethi- performed by and for the noblemen, mask lan is the impact of modification that signs puppet was formly performed by and for the profanation process of Malang mask civil society. The creature was even made puppet. According to Salim cited by Balok from stone at that time. The sacred values (2014, p. 172), the turn of cultural things to of the Malang mask puppet as a custom the commodity creates a larger production ceremony created many calculations. The process, imitation, and reduces the quali- calculation includes the electing day of the ty. In the performance of art, the show is ceremonial show or called naga dina, fasting being packaged and modified in its several three days continuously before the show, aspects which causes the loss of important and choosing lakon, which is important to philosophical values. appropriate the representation of the ho- pes and goals of the ceremony. According The Cultural Impact of Modification of to Kusmayati cited by Safarudin (2014), Malang Mask Puppet the ceremony is aimed to worships the an- As an oral tradition, Malang mask cestors, express gratitudes, ties to the life puppet is being considered as one of the 24 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 18-28 cultural assets and heritage of Malang. The Senses of Malang Mask Puppet The Thus, the original values of Malang mask creativity sense puppet must be conserved and maintained. The turn of the function of Malang Even though this traditional art faces the mask puppet from the medium of ritual to transferring and inheritance process, the the public theather creates a new important artist of Malang mask puppet must be able role for the surrounding society of Kedung- to create the strategy of inheritance to keep monggo Hamlet. Malang mask puppet sol- the existence of this art. In the globalizati- ves problems which are happened in this on era, the modification process of Malang region over the years. According to Kasim mask puppet at Padepokan Seni Asmoro cited by Iswantara (2000) that since the an- Bangun indicates the desire and market cients ages, the public theater is functioned taste to turn the art to the commodity. Ac- as the facilities to ask society participation cording to Piliang (2004, p. 197), the open- directly. As a public theater, Malang mask ness to the other culture, interaction, and puppet performance gives simple and exchange process which is possible must easy-accepted communication. Thus, Ma- be completed with critical thinking. The- lang mask puppet becomes the medium to re must be a mechanism of cultural filter solve the developmental problems of the which possibly minimalizes the culture to surrounding society. This oral tradition the other. nowadays creates welfare and prosperi- The packaging show of traditional ty for people of Kedungmonggo Hamlet. art is considered as needed to appropriate According to Wardana (1984, p. 40), the customer demand. This modification pro- function of oral tradition can be slaved on cess is the big factor in the loss of the ori- social importance and being part of the ginal values and meaning of Malang mask social life from time to time. According to puppet. First, the influence of the modifi- Piliang (2003, 249), the change of meaning cation process impacts the limited dura- is caused by the process of encoding which tion of the show. Malang masks puppet reproduces meaning by the standard of ot- performance which has to be held during her text as its reference. The rules such as all night changes to only two hours. The “similitude” and “resemblance” are appli- philosophical values change the economi- cated without considering deeper semio- cal values as well. Moreover, the develop- tical dimensions such as concept, content, ment of technology put the art of Malang idea, meaning, myth, or ideology. mask puppet easier to enjoy. People do not Moreover, during a long period of need to attend directly to the show perfor- time, Malang mask puppet faces various mance and possibly to re-watch repeated- kinds of changes whether in terms of its ly via television, radio, internet, and other form and function. The changes of Malang digital media. Malang mask puppet which mask puppet affect its represented mea- has been medium of praying and worship ning. According to Piliang (2003, p. 249), to the ancestors changes its function as the the changes of meaning occur because of commodity to fulfill the need of artists and the encoding process. Beskalan Putri dance workers. Malang mask puppet support the is one part of Malang mask puppet who- surrounding society as well. se meaning changed. The prior function of Based on history, the rising of Ma- this dance is to represent the fertility cere- lang mask puppet at Kedungmoggo Ham- mony and welcome the ancestor’s spirit. let is in the era of preaching of Hindu. This dance is originally held at the ceremo- Eventhough many hindu temples can be ny such as opening a new area or building found as the proof of the preaching, these a house. historical sites change to be an organizati- However, because of the pattern of on nowadays. The preservation of traditio- inheritance, this dance was modified as a nal art such as dance, karawitan, and skill welcoming dance performance. Its func- art occurs. tion is entertainment. Princess Beskalan Arining Wibowo, Malang Mask Puppet in Era of Globalization: Social and Cultural Im- 25 dance became a tourist attraction. from another region of Indonesia or even Considering the iconic character another country establish productivity re- of Beskalan Putri dance, the modification lated to the Malang mask puppet. This art shows the loss of ideological values and is being commercialized in order to open the rise of the beautification of art. In the new job vacancies and creates a prospero- name of creativity, Padepokan Asmoro us society. As stated by Sutarto (2004, p. Bangun creates a new pattern and reno- 58) that the function of local and cultural vates this dance. The number of dancers, products which is still in the process could limitation of duration, choreography ar- support the growth of the tourism industry rangement, briefing story plot, janturan, and produce many devices. kandha, antawacana, and sulukan/lagon and But this shows that the changing stage adaptation become the focus to mo- meaning of Malang mask puppet turns dify. Malang masks puppet function chan- from sacred to profane. Due to the perspec- ges to commercialize and creates jobs for tive of Padepokan Asmoro Bangun which the people of Kedungmonggo Hamlet. Va- considers Malang mask puppet as the me- rious kind of creativity occurs and creates dium to support its surrounding society new art of Malang mask puppet show, its to fulfill their daily needed. Malang mask dances, and handicrafts. puppet then becomes the playground to get jobs and occupations. This condition The prosperity sense is unavoidable due to the change of socio- In terms of the modification process cultural background as well. Globalization of Malang mask puppet, Padepokan As- flow brings influences to the Padepokan moro Bangun has a specific strategy and Asmoro Bangun to change the function of plan to support the surrounding society. Malang mask puppet. One significant purpose of this art - modi fication is to increase the prosperity of the Education sense local people of Kedungmonggo Hamlet. Malang mask puppet takes an im- The increase of income which possibly portant role to build and teach manners helps surrounding society to fulfill their toward children. Fun learning media such daily needed becomes the concern of mo- as Malang mask puppet contributes to the dification. The development of tourism in education aspect through the story. The Malang influences the growth of Malang story contains moral messages to guide mask puppet. Padepokan Asmoro Bangun children to choose a better way of life. As formulates three basic patterns to support revealed by Sutarto (2004, p. 35), the Ma- the development of tourism in Malang. lang mask puppet as the cultural identity First, the place as destination tourism has has the potency to be developed, whether to be beautiful and unique. Second, people in terms of aesthetic of art or educational who live around tourism site characterize sense. Panji, as the main figure of Malang as kindly residence, friendly, give secure, mask puppet, is the one significant examp- comfort and prime services to the visitors. le of a hero who could possibly becomes Third, parcel as products that represent role model. the culture and uniqueness of the place. Besides moral messages, education The parcel which functions as the handic- for children is being applied through dan- raft is portable and represents memories. ce training and practice. Pendapa (studio) of Thus, parcel gives the visitors the vibe to Padepokan Asmoro Bangun becomes the remember or desire to come back to this place for children to learn and dance. The tourism site. learning process creates togetherness and Revitalization of Malang mask respect without considering one’s social puppet as the local culture of Malang ex- degree. Children are being taught about tends profit for its society. An increasing solidarity, helping each other, and peace. number of visitors and tourist whether 26 Harmonia: Journal of Arts Research and Education 19 (1) (2019): 18-28

Rusyana (1999, p. 2) that tradition could be a part of a culture that is being a com- mon reflection of the whole culture, then it has a certain meaning for the suppor- ting society. Malang mask puppet as an oral tradition has a dynamic characteristic to change its structure and function. The existence of Malang mask puppet in the era globalization follows its social context.

Figure 1. Children learn to dance at Pendapa

The aesthetic sense The aesthetic sense of Malang mask puppet is being represented through ar- tist, dancer, and audience. These stakehol- ders have role to express values of Malang mask puppet itself. That’s why the change of generation influences the aesthetic sense Figure 2. The Aestethic of Malang Mask of Malang mask puppet. At Kedungmong- go Hamlet, the change of the meaning of The conservation sense mask puppet itself begins from the change Even though Malang mask puppet of pakem especially in terms of dance cho- has existed in various places of Malang, reography. The old generation considers Padepokan Asmoro Bangun strongly con- Malang mask puppet as a guidance due serves and maintains traditional art. Loca- to the representation of philosophy of life. ted at Kedungmoggo Hamlet, Pakisaji as Malang mask puppet contains the balance one subdistrict of Malang, this art studio of nature and human alongside with their has been tried several efforts to maintain religious aspect. Oppositely for nowadays Malang mask puppet from extinction. The society, Malang mask puppet is being con- renewal of the inheritance system is signi- sidered as an entertaining dance which ficantly being chosen. The inheritance sys- attracts people. Malang mask puppet be- tem of Malang mask puppet is called ngabdi comes a product whose dance movement for the very first time. Ngabdi which means and custom are modified.Bapang dance for one has to be student who follows particu- example originally portrays a figure with lar ritual to be accepted and had chance to the firm character who is marked by wide learn the art of Malang mask puppet. Whi- hand movement, moves left to the right, le nowadays, Padepokan Asmoro Bangun wide eyes, long nose, and red coloured changes its system and allows every per- mask. Bapang dance portrays the bad cha- son to learn and practice dance on Sunday. racter as the enemy of Panji. Whereas at The schedule is even possibly being ap- this time, Bapang dance is simply being un- propriated to the demand of participants. derstood as the icon of Malang. Moreover, the permission of girl participa- The understanding of the audien- tion adds the number of students. ce toward the aesthetic values of Malang The conservation effort of Malang mask puppet is limited only from two mask puppet succeeds to add a number hours show performance include dance of participants in dance training because it and story. While dancing and story have attracts not only adults but also teenagers been packaged to match the demand for a and children. The result of this training more enjoyable performance. As stated by brings children to show their talent at the Arining Wibowo, Malang Mask Puppet in Era of Globalization: Social and Cultural Im- 27 event of Gebyak Topeng Senin Legian. This lang puppet mask is considered to have a proves the effort of Padepokan Asmoro role in supporting the development of Ma- Bangun to develop the next generation in lang City, both in terms of economic and order to maintain the art of Malang mask cultural assets. Some art studios (padepo- puppet. kan) include Asmoro Bangun, then modi- fy Malang mask puppet and turn its fun- The identity sense ctions as commodities and products. The As an oral tradition that has deve- modification process on the other side is in- loped at Malang, the art of Malang mask deed the effort of Padepokan Seni Asmoro puppet becomes a reflection of the cultu- Bangun to maintain dan conserve Malang ral identity of this regency. Thus, Malang mask puppet. The modification process of mask puppet attracts the heirs, artist, and Malang mask puppet creates not only job its supporting society because of its impor- vacancies, but also awareness of the heirs tant role to build up the identity of Ma- and surrounding society to work harder lang. The function of Malang mask puppet to revitalize and develop their traditional is important for the life of its surrounding art. Whereas, while an artist is being mo- society, as revealed by Koendjaraningrat dified, several loss follows. Sacred and (1984, p. 286) due to the ability of Malang philosophical art is turned to be an enter- mask puppet to spread and functioned taining show. The sacred and philosophi- as a social medium. As traditional shows cal side of Malang mask puppet contains which turn to be public (popular) art, Ma- local wisdom and continual guidance of lang mask puppet reaches each layer of the life. Meanwhile, the fun show creates the society of Malang. Moreover, it becomes occurrence of several aspects, such as pros- the identity of a certain group of people. perity, identity, creativity, education, etc. Including students, such as a student of This signs ambivalence of the modification State University of Malang (UM), Kanjuru- process, because positive and negative im- han University of Malang, or Santo Yosep pact equally occurs. Senior High School who come to Pade- pokan Asmoro Bangun for studying and ACKNOWLEDMENT researching about Malang mask puppet. Even the researcher comes both from anot- This research was supported or par- her local region of Indonesia and another tially supported by Lembaga Pengelola country such as Japan. The existence and Dana Pendidikan (LPDP) RI as one of the meaning of Malang mask puppet attract a funding agencies and credible scholarship particular group of people to own informa- in Indonesia. I am also grateful, thanks to tion and collect data about it. According to Aquarini Priyatna for her assistance with Piliang (2011), cultural identity is the pro- brilliant guidance, Cece Sobarna and Su- cess of becoming. It does not mean only an tiyono Mahdi who moderated this paper existence which has passed the time, place, and in that line improved the manuscript history, or culture, but also the presence of significantly. learning and association process of it. REFERENCES CONCLUSION Andalas, E. (2016). Sastra Lisan Lakon Lahire The turn of Malang mask puppet Paji Pada Pertunjukan Wayang Topeng form the sacred and traditional art to the Malang (Kajian Sastra Lisan Ruth H. profane and popular show at Kedung- Retrieved from http://repository. monggo Hamlet indicates the influence of unair.ac.id/60715/ globalization flow. Once an art enters the Balok, S. d. (2014). Dampak Komoditas in globalization flow, it must follow the rule Seni Budaya. Surakarta: ISI Press. of global. As a local asset of Malang, Ma- Brandt, T. 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