HARMONIA : Journal of Arts Research and Education 15 (2) (2015), 107-112 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v15i2.4557

TAKSU AND PANGUS AS AN AESTHETIC CONCEPT ENTITY OF DANCE (A Case Study of Topeng Tua Dance)

I Nengah Mariasa Department of Drama, Dance, and Music, State University of Surabaya Lidah Wetan Surabaya, Surabaya 61177, E-mail: [email protected]

Received: November 28, 2015. Revised: November 30, 2015. Accepted: December 4, 2015

Abstract

There are two types of topeng drama performance (topeng is Bahasa Indonesia for ) in Bali, Topeng Pajegan and Topeng Panca. Topeng Pajegan is a masked drama performance that is danced by a dancer by playing various tapel, while Topeng Panca is danced by five dancers. Generally, there are three or four stages on topeng performance, i.e. panglembar, petangkilan, bebondresan, and/or pesiat. On panglembar stage, there is one dance represented the character of old people. The dance is then known as Topeng Tua (Old Mask). The costume, tapel, as well as hair worn by the dancer have been considered as one of the precious or noble artworks. The question comes up here, is the aesthetics of topeng only depended on its high aesthetic value costume and tapel? Topeng Tua performance technique is considerably not easy to be done by a beginner dancer. On the other words, it implicitly tells that the aesthetics of the dance depends closely to the dancers’ techniques. A good Topeng Tua dancer will be able to dance by using the technique of ngigelang topeng. Furthermore, the beauty of Topeng Tua does not only lay on its splendor artworks on the costume, tapel, and hair colour, but more to the ability of the dancers’ movement technique that successfully shows the beauty of taksu and pangus.

Keywords: taksu; pangus; ngigelang topeng; Topeng Tua

How to Cite: Mariasa, I. (2015). Taksu and Pangus As An Aesthetic Concept Entity of Bali Dance (A Case Study of Topeng Tua Dance). Harmonia: Journal of Arts Research and Education, 15(2), 107-112 doi:http://dx.doi.org/10.15294/ harmonia.v15i2.4557

INTRODUCTION used here, Topeng Pajegan and Topeng Pan- ca (Bandem, 1983, p. 140). Topeng Pajegan Topeng in Bali dance is a dance per- is a dance performance that is done by a formance that tells about dialogues and dancer by playing or moving various tapel songs. All dancers are required to wear a based on the roles. Topeng Pajegan itself is realist tapel with one special costume that also known as topeng wali because it is usu- can be used to dance various different ro- ally used in religious ceremony. The latter, les. The word “tapel” has a similar meaning that is topeng panca, is the developed versi- to “topeng” in and “mask” in English. on of Topeng Pajegan. It has more functions It is a face cover used in several Yogyakar- than the initial version. If the initial model ta and Surakarta dances. Here, if a topeng is danced by one dancer, the latter is dan- dancer plays four roles, he does not need ced by five dancers, and so does with its to change his costume, but his mask and other functions (Bandem and Rembang, head costume equipment only. 1976, pp. 11-13). Two types of topeng are normally Topeng dance performance is gene-

107 108 HARMONIA : Journal of Arts Research and Education 15 (2) (2015): 107-112 rally devided into three or four stages, i.e. one particular area, but spread in seve- panglembar, petangkilan,bebondresan, and/ ral performance areas. Data are collected or pesiat. Panglembar is the opening stage by using observation, interview, as well of topeng dance that is consisted of one to as documentation study techniques. The three dances. It is the stage where the mee- three observation techniques employed to ting between the kingdom servants and complement each other. While observation their king is occurred, while, bebondresan is and documentation study are emphasized the performance of topeng roles that tend to to study the form and technique of the per- be funny or comedy. The last stage is pesi- formance, interview is used here to under- at. It performes war. However, it is rarely stand the theories and its application in the performed now. performance. In the stage of panglembar, there is Data and facts that have been col- a dance that shows the character of an old lected are then analysed. The analysis man. The dance is known by Topeng Tua. is conducted under a particular process Topeng Tua uses mask with a white-hair- chain. Observation is initiated by an obser- head and an old face on the mask. The ta- vation, continued by interviews and do- pel and costume of Topeng tua have been cumentation study. Those there are done recognized as two noble artworks. Questi- continuously started from the day when ons then can be derived from this pheno- the data are collected. Further, from the menon. Is the aesthetics of topeng dance data and empirical information, categori- only depended on the high valued costu- zation is created based on the concepts and me and tapel? It is said that the magnetism theories to see, classify, and relate one data of a dance depends closely to several aest- into other data or facts. hetic aspects. What are the aspects affected Topeng Tua dance that makes this dance is DISCUSSION attracted for the audiences? The Topeng Tua dance performs mo- METHOD vements of Bali dance ‘putra manis’, that is not belonged to Bali dance type beban- The material object of this study is cihan. The difference between ‘putra manis’ a Topeng Tua performance that is done by dance with bebancihan is on the movement different dancers. The difference between in shoulder part. The shoulder gesture in dancers is shown in their level of ability ‘putra manis’ dance is the same as the ba- in doing the dance technique up to the le- sic movement in ‘putra keras’ dance, that vel of taksu. This is adjusted with the topic is when the shoulder is lifted till the neck about aesthetics in Bali dance that becomes seems shorter. This kind of movement can- the formal objects of the research. not be found in man dance bebancihan. In Data collected in this study is desc- bebancihan, the neck is not lifted. riptive in a form of Topeng Tua performan- Topeng tua does not show dialogues ce recording and analyzed words using and songs, but it shows only dance that qualitative method. This study is emplo- employs the character of an old man. Even ying two disciplinary approaches, ethno- when this dance does not perform dialo- choreology as well as aesthetics. As a pa- gues and songs, however, the level of dif- radigm, ethnochoreology employs basic fulty of the dance is considerably high. A assumptions, models, concepts, research dancer is not only expected to master mo- methods, analytical methods, and analysis vements and to dance tapel, but also ngige- results (Ahimsa, 2007, p. 105). One if its as- lang topeng (dancing topeng or ‘switching sumption is that human wants to express on’ the tapel). Dancers are normally master themselves through dances that have cer- this dance up to the level of ngigelang tapel, tain functions and purposes. so that, it is less attractive ((Dibia, 2012, p. The study is located not only in 68). For the clearer figure, please see figure I Nengah Mariasa, Taksu and Pangus as An Aesthetic Concept Entity of Bali Dance 109

1. (Dibia, 2008, p. 30-31). Taksu is an inside power that contributes smartness, beauty, and miracle (Warna, et al., 1978, p.558). As a spiritual power, taksu penetrates inside a human soul, inside of the dancer espe- cially, when they are dancing on stage. A dancer can be considered having taksu if he can transform himself as a whole perfectly based on his performed role. The condition on which the artist is gifted by such kind of gift, pushed the artists to perform mag- nificiently on the stage. In the other words, he is successfully control the movement technique that he performs (Bandem, 1996, Figure 1. Visual Manifestation of Topeng p. 24). Tua dance Taksu can be also defined as a mani- festation of pure culture creativity that de- The presentation (performance) livers spiritual power towards an artist to technique of Topeng Tua dance is not easy reveal himself to be better than he is now. to be done by a beginner dancer. One who Taksu as a gift from God is a result of hard has had an experience of performing tari work, dedication, as well as surrender in putra or man dance, cannot be guaran- pure state (Mantra, 1996, p. 26-27). teed to also will be mastering Topeng Tua Taksu do not always come to the dan- well. They have to learn more on how to cers right while they are performing on the dig the dance technique of ‘putra manis’. In stage (Interview: I Made Djimat, 24 De- nine stages of Bali dance learning, Topeng cember 1998). Sometimes, a dancer recei- Tua dance belongs to the third or fourth ves it hard, but sometimes it can be gotten stages. On the third stage, the dancers are easily and fast. expected to understand the techniques When the taksu covers a dancer, the and its movements, whereas, on the fourth dancer himself will perform with dazzling, stage, they are expected to master tetuwek immerse the feelings and thoughts of the (soul) of the dance character (Bandem dan audience into the performance. The beau- Dibia, 1982/1983, pp. 16-17). If the fourth ty and aesthetics of the costume as well as stage can be mastered by a dancer, there- the music accompaniment seem to be mag- fore, the dancer is considered to be able to nificient with the greatness of the dancers dance by employing the concept of ngige- who dance it. lang topeng. A complete preparation has to be had All the rules of movement techni- by a dancer if he wants taxes to be received ques of Topeng Tua dance that may attract faster by them. In its first preparation, a audiences are basically placed in two main dancer has to master the movement techni- aesthetic concepts, taksu and pangus. One que ability. That is the most important re- of the tari topeng’s maestro, quirement that has to be held by a dancer. I Made Djimat, claimed that there is The mastering movement technique can- taksu besides pangus as the main aesthetic not be done easily, a dancer has to spend elements of Bali dance (Mariasa, 2000, pp. his time, strength, as well as working hard 166-171). while rehearsing the dance. If the ability Taksu is believed as a magical st- of both movement and performing techni- rength from God that gives huge impact que have been mastered by the dancer, the towards the beauty of Bali arts. Artworks dancer needs to prepare and cultivate his or performance that have taksu in it is a confidence towards the miracle of taksu. kind of arts that has soul and live power Building belief inside the soul of a dancer 110 HARMONIA : Journal of Arts Research and Education 15 (2) (2015): 107-112 is not an easy job to do. It needs an attempt kalangan or the stage is contented or not. to lay the dancer’s soul to the God or to his Made Djimat himself claims that he is able profession. Further, it needs the dancer to to feel the differences between those two hold the belief tightly based on the purpo- kalangan. It is said that, the contented ka- se that he wants to achieve. langan does not only exist in Bali but also How the taksu comes and goes is in kalangan located in overseas. Contented hard, but, it is surely can be felt. Made Dji- or not a kalangan, however, has a high pos- mat has ever delivered the term jeg (all ofa sibility to be affected by its initial construc- sudden) to refer to an aesthetic event that tion process. enters to the inside of the dancers’ soul all In Bali dance, the term ’pangus’ is of a sudden. When performing, in the very used as a term to refer to harmonization ready state, a dancer can suddenly cont- that supports an entity of the dance’s role rol and dominate the audience’s attenti- or characterization. Generally, in Baline- on. The joy of dancing in that moment is se, the word ’pangus’ means appropriate or immeasurable. With double strength, all harmonious (Warna, 1978, p. 414). Specifi- movement techniques can be done easily. cally, pangus is used to label to the suita- The dancer never suffers and feels burde- bility of someone’s wearing and/ or doing ned. On the other hand, he has maximum something. In Bali dance, the word ‘pangus’ spirit to dance and his willingness to dan- is used to refer to the conformity between ce is bigger. As a result, the audience will themes and performance in a dance’s role be surprised and satisfied with the perfor- or characterization. mance. However, in a reality, the kind of A role/ characterization in Bali dan- condition described above is considerably ce is supported by several aspects, such hard to be achieved. as: movement, vocal, costume, as well as In the reality, there is one thing the music accompaniment. The movement that needs to be added here. Besides the supports the costume aspect and vice ver- readiness of the dancer, the place used to sa. All the aspects, together, will support perform (kalangan) also become one distin- shape the dance’s characterization. As a guished factor here. Literally, kalangan is result, a harmonious entity of dance will the place where the performance takes pla- be formed. A beauty that arises from the ce. In fact, kalangan has double functions. unity is then known by pangus. Besides becoming the performance stage, Each of the aspect has been organi- it also has a special power to be given to zed neatly in Bali dance and has made the the dancer. There is belief had by dancers dance into an artistic dance. Nevertheless, that every kalangan has its own taksu. The- the dance also needs to be performed by a re is a kind of ‘non- stingy’ kalangan, and skillful dancer. In this part, it can be said there is also the ‘stingy’ kalangan called de- that the establishment of pangus is related mit (Catra, 1997, p. 108). In kalangan bares, closely to the ability of a dancer to perform a dancer can receive his taksu easier and it. faster. The contra action happened in ka- A dancer who has mastered the con- langan demit. Further, Made Djimat argues cept of pangus will always attempt to fuse that there is a contented kalangan and also his own personal character into his stage’s an empty kalangan. Every movement that role. He will hide the character that is not is danced can bhave more quality when suitable with his on stage character. A dan- the dancers dance in the contented kalan- cer is allowed to develop an attitude that gan. Conversely, the feeling of emptiness suits his on stage character when it is sui- will be occurred when the dancers step table to his personal life’s character. A dan- their feet on the empty kalangan. A con- cer who successfully performs a concept of tented kalangan is considerably hard to be pangus is believed to be able to perform felt by audiences in general. However, an well on stage. “experienced” dancer can feel whether the According to this, it is believed that I Nengah Mariasa, Taksu and Pangus as An Aesthetic Concept Entity of Bali Dance 111 a caland prestigious role of dancer will med as the combination between tension, be hard to be performed by a humorous tenderness, majesty, dignity, comedy, etc. and cheerful dancer. On the other hand, a It is supported by harmonious element of cheerful or funny character will be easily choreography that suits the theme of the performed by him. In this case, Topeng Tua dance. Intensity is a power. Pangus is a dance is supposed to be perfomed with a set of harmony that directs to a unity. The movement and character that reflects an combination of taksu and pangus is a form old man character that is far from funny, of integrity concept that can be used to me- active, and strong characterization but asure the aesthetic element of Topeng Tua. more of a passionate, old and slow. All the Special characteristics seen from the com- spiritual movement is wrapped in a slow bination between these concepts are inten- but passionate character that represents a sity (taksu) and harmony (pangus). character of an old man. An ‘active’ tee- nager dancer will be considered hard to CONCLUSION dance or perform this type of role if he does not master the concept of pangus. The aesthetic of Topeng Tua dance is A dancer who goes deep into the not only reflected in the concept of the art- concept of pangus is supposed to have works worn by the dancers, including the mastered the initial or basic concept of tapel, costume, and the hair colour, but also dancing. While dancing on stage, a dancer depends closely to the movement techni- will need to be fully concentrated. An at- que of the dancer. In mastering the move- tempt to fuse the dancer’s personal charac- ment, there are some elements that needs ter into the stage character is not easy to be to be cultivated by the dancers. Mastering done. A dancer has to realy concentrate to the movement technique or wiraga needs the dance he performs. Even a young dan- to be optimally developed to establish ae- cer needs to bring the character of the old sthetics. In Bali dance, there are two aest- man onto the stage. hetic concepts that influence one another, As one of the dominant aesthetic that are taksu and pangus. Taksu can clear- element, pangus is always seeked by al- ly be seen by the audiences by seeing the most every Bali dancer since they believe dancer’s intensity, while pangus can be in the magnificience of pangus that may seen from its unified performance. Those attract audiences. If a dancer has imple- two aesthetic concepts seem to be univer- mented pangus on stage, even the simplest sal. movement on dance will be looked majes- tic. Madej Djimat sais that, ”…cara ngigel REFERENCES babondresane, polos-polos igelane, awag-awa- gan ngigel, demen nak ningalin sawireh pan- Ahimsa-Putra, H. S. (2007). Etnosains un- gus” which means “as in babondresan, even tuk Etnokoreologi Nusantara. Etno- if the movement is simple, the audiences koreologi Nusantara: Batasan Kajian, may enjoy it to the fullest because of the Sistematika dan Aplikasi Keilmuannya. pangus existence”. Surakarta: ISI Press. Taksu (bhawa) and pangus (anubhawa) Aryasa, I Wayan Madra. (1993). Materi are two important aspects in the aesthetic Pokok Seni Sakral; 1-6; PAHD2433 / of Bali dance. The encounter between bha- 2SKS. : Direktorat Jenderal wa and anubhawa is cultivated by the dan- Bimbingan Masyarakat Hindu dan cers to establish a beauty or the aesthetic Budha dan Universitas Terbuka. aspect of a dance (Ayasa, 1993, p. 46-47). Bandem, I. M. (1980). Evolusi Tari Bali. Further, taksu tends to be inner (or the Denpasar: Proyek Penggalian/Pem- psychology of the dancer), while pangus is binaan Seni Budaya Klasik (tradis- more physical. Taksu is an inside power, ional) dan Baru. it refers to the dance intensity that is for- Bandem, I. M., & I Wayan D. (1982/1983). 112 HARMONIA : Journal of Arts Research and Education 15 (2) (2015): 107-112

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