Jurnal Komunitas 6 (2) (2014): 189-196

Jurnal Komunitas 6 (2) (2014): 189-196. DOI: 10.15294/komunitas.v6i2.3302

ResearchJURNAL & Learning inKOMUNITAS Sociology and Anthropology http://journal.unnes.ac.id/nju/index.php/komunitas

The Life of Mask Puppet in Jombang: Its Functions and Continuity

Setyo Yanuartuti

Languages and Arts Faculty, UNESA Surabaya Indonesia

Permalink/DOI: http://dx.doi.org/10.15294/komunitas.v6i2.3302

Received : July 2014; Accepted: August 2014; Published: September 2014

Abstract Wayang Topeng (Mask Puppet) in Jombang is a folk performance whose presence is needed by the society. Along with the development of the society, it experiences downturn. Currently, various attempts have been made by artists in Jombang to preserve the performance. The study aims to investigate the function and continuity Wayang Topeng functions in today’s society. Observation, interviews and literature studies were used to collect the data. The interactive analysis was used as the data analysis model. The result of the study shows that Wayang Topeng in Jombang still has manifest functions such as a vow ritual, a giver of inner experience, a breadwinner, and an entertainment; and latent function which is to form social solidarity. The life of Wayang Topeng after being raised by Purwa has received good response from the people and gained popularity. However, because the regeneration process is not well managed, the existence of this art performance is at the tip of torpor and deterioration. The revival of Wayang Topeng in Jombang is realized soon after a primary school teacher has tried to revitalize it.

Abstrak Wayang Topeng di Jombang merupakan pertunjukan rakyat yang kehadirannya dibutuhkan oleh masyarakat. Seiring dengan perkembangan masyarakat wayang topeng ini mengalami kegoncangan sehingga hilang. Berbagai usaha telah dilakukan oleh seniman-seniman di Jombang hingga saat ini telah muncul kembali. Penelitian ini dilakukan untuk mengetahui fungsi wayang topeng di masyarakat saat ini dan mengetahui kontinuitas kehidupannya. Teknik pengumpulan data menggunakan observasi, wawancara dan studi pustaka, dan analisis interaktif sebagai model analisis datanya. Hasil penelitian menunjukkan bahwa wayang topeng di Jombang masih memiliki fungsi manifes yaitu fungsi ritual nadzar, sebagai pemberi pengalaman batin, sebagai pencari nafkah dan sebagai hiburan; serta fungsi laten yaitu pembentuk solidaritas sosial. Kehidupan wayang topeng setelah dimunculkan oleh Purwa mendapatkan tanggapan yang baik oleh masyarakat sehingga cukup eksis, namun karena proses regenerasi tidak dilakukan menyebabkan kesenian ini mati suri dan kemerosotan. Kebangkitan kembali telah dialami oleh wayang topeng di Jombang setelah ada seseorang guru SD berusaha untuk melakukan revitalisasi.

Keywords: function; continuity; life; mask puppet

How to Cite: Yanuartuti, S. 2015. The Life of Mask Puppet in Jombang: Its Functions and Continuity. Jurnal Komunitas, 6(2):222-236. doi:http://dx.doi.org/10.15294/komunitas.v6i2.3302

 Corresponding author : ISSN 2086-5465 Address: Jl Teuku Umar 10 Shinta Teuku Umar St. Jombang E-mail : [email protected] UNNES JOURNALS Jurnal Komunitas 6 (2) (2014): 222-236 223

INTRODUCTION king, Hayam Wuruk, and his father, Kerta- Indonesian society consists of many vario- wardhana, often performed in raket. Accor- us ethnicities. This society’s ethnic diversi- ding to his prediction, raket performance ty has created various cultures as well. One carried Panji story. It can be seen from the result of the cultures is the traditional art. term tekes that appears in that old Java poet- Traditional arts have long lived in the midst ry which does not mean opera dance drama of public life in accordance with its ethnic but is interpreted as a head cover which was groups. Therefore, there are many kinds of worn by dancers in Panji story dance drama traditional arts in Indonesia and each one (1984: 7-10). is unique, peculiar, and different from one In the area of Malang, Pigeaud (1938: region to another. Traditional arts in Indo- 143) finds that mask performances are found nesia have been born, lived, and grown with in some places. Mask performance in Ma- the society in which this art exists. One of lang is very popular. Pigeaud obtains infor- the arts is the art of mask performance. mation from the former governor of Malang, The word topeng (mask) comes from Raden Adipati Ario Surioadiningrat, about the word tup which means “closed”, then is mask performance in Malang in the late XIX added with eng and it becomes tupeng and and beginning of the XX centuries. Saritru- then it becomes topeng (Ensiklopedi Tari no (a village chief) was a famous performer Indonesia, 1986: 96). Each region/area in In- who came from Pucangsongo, Tumpang sub donesia has its own term to say “topeng”: ta- district; He was famous for his skill at dan- puk (ancient Javanese language), tapel (Bali, cing. The mouth of the mask used by him Lombok), kedok (Java-Sunda), toping (Ba- was closed, which is now at least connected tak Simalungun), hudoq (Dayak), gundala- with a rope round the head. Therefore, it gundala (Karo), etc (Suanda, 2004: 3). The does not have any hide/leather piece like in word topeng is not always used to mention a Central Java. Related to that, Henri Supriy- performance that uses a mask. For example, anto (1997: 6) also reveals that at that time, a performance that uses a mask like Wayang in Malang, there was the oldest mask maker Wong in Yogyakarta and Bali is not called named Mbah Reni. topeng while there is a performance that Wayang Topeng in East Java has a does not to use a mask like in Betawi and number of forms, besides Wayang Topeng Banten, but it is called topeng. It means that Malang, Topeng Dalang Madura; there is the term topeng is sometimes defined nar- also one in Jombang. Mask performances in rowly, but can be defined broadly as well. East Java have been widely researched and The term Wayang Topeng (Mask written, but not many people know Wa- Puppet) in the mask performance in Indo- yang Topeng in Jombang because there has nesia refers to the presence of dalang who not been any research which discusses and is a performer and mastermind of the story. publishes it in detail. Pigeaud has mentio- The term Wayang Topeng is used in a mask ned that in Jombang area, there is a small performance in Malang, Klaten, Jombang, mask performance performed around the Cirebon, etc. area from one house to the other and gives a Soedarsono, in his book, Wayang show in short amount of time. In Jombang, Wong, State Ritual Dance in the Court of on Chinese New Year, there are mask per- Yogyakarta writes that Wayang Topeng in formers going around the area, which is of- East Java had been known in the 10th centu- ten called amen. Small mask performances ry until the 16th century as a legacy of mask in this area presumably consist of only one performance that had existed at the time of or some mask dance/s (Pigeaud, 1938: 139). kingdoms in East Java like Majapahit, called Information on Wayang Topeng in Jombang as raket. Later, the book explains that the has already existed but it is not complete. performance of raket is related to an old Java In Jombang, a mask performance called the poetry Nagarakretagama written by Mpu Wayang Topeng is a mask performance in Prapanca in 1365 A.D which states that the Jati Duwur, hence, people call it Wayang To-

UNNES JOURNALS 224 Setyo Yanuartuti, The Life of Mask Puppet in Jombang: Its Functions and Continuity peng Jati Duwur. Wayang Topeng Jati Duwur ments of art. Various elements of the art are is a mask performance which has achieved blended in one performance. Wayang To- success, but it also experienced a downturn peng performance is regulated by a dalang even lost. The attempt to preserve this per- (puppeteer), while the performers move ac- formance is conducted by a primary school cording to what the dalang is saying. Cur- teacher named Supriyo. Until this moment rently the show is accompanied by gamelan on, the performance is finally known by the composition Slendro, which is very different present society. from the repertoire of Wayang Topeng Ma- The life of Wayang Topeng is interes- lang that generally uses gamelan composi- ting to be investigated further. Regarding to tion Pelog Bem. Gamelan musical composi- such notion, researcher is interested to re- tion that is used to manage the dynamics of view it. The writing will focus on the func- the show is Gamelan musical composition tions and the continuity of Wayang Topeng of East Java as well as Gamelan musical com- in the society. The researcher’s motivation position of Wayang Kulit Ceg-dong – East to discuss this problem is due to a sense of Java’s Wayang Kulit performance, Trowula- concern about the condition of Wayang nan style, the style of dalang Piet Asmara. Topeng; even though the performance has In the mask performance of Jati Duwur, been raised back, up to this point, it has not the commemoration of the main characters really existed in the society. There is a huge is Panji Inukertapati and Dewi Sekartaji, not expectation from the reseracher that Wa- Panji Asmara Bangun and Dewi Candra Ki- yang Topeng Jati Duwur which has the cha- rana like in mask performance of Malang. racteristic of the art of Jombangan can later This is due to the majority of the peasant so- be known by general people and get the at- ciety of Jombang who believe that the mee- tention of Governments and art observers, ting of Inukertopati and Dewi Sekartaji is so the life of Wayang Topeng can thrive and bibit kawit1. People of Jati Duwur in particu- have a good continuity in the future. lar used to enjoy the performance, although they thought of it as a small performance or METHODS ‘amen’. These people generally thought that The research is a field study which has a ma- way because it has ujar or nadzar (Supriyo, terial object of Wayang Topeng in a village interview on 4 January 2011). of Kesamben sub-district of Jati Duwur Re- As folk performance art, Wayang To- gency, Jombang, East Java,, while the formal peng Jati Duwur’s existence is indeed very objects are function and continuity. This re- close with the lives of the people in Jati search was carried out in Jombang. To ob- Duwur village, Kesamben sub-district, Jom- tain the data both direct and indirect obser- bang Regency. This is because the art has vation techniques were used. The data was contributed something to the life of the then tracked using interviews and literatu- people. It means that, according to anthro- re studies. The data processing used quali- pology, Wayang Topeng Jati Duwur is fun- tative analysis techniques with interactive ctional for the life of the society. This area model whose implementation was carried includes functionalism based on Biophy- out simultaneously with the process of data sics needs and functionalism based on so- collection. To get the valid data, re-checking cial needs or functionalism in the matter of was done using data triangulation and dis- individual needs and functionalism in the cussions with colleagues. matter of society (Royce, 2007: 81). In general, the whole theory of functionalist has RESULTS AND DISCUSSION The performance art of Wayang Topeng Jati 1 Bibit kawit is the origin, an essence that has living Duwur is a form of Wayang Topeng perfor- spirit and will not die or be destroyed. Therefore, tradition that based on agrarian culture often mance using the play of Panji story. Wayang performs a ceremony wiwit. Wiwit comes from Topeng Jati Duwur is also a complex per- kawitan which means beginning or origin (Beatty, formance in which there are different ele- translation Achmad F Saefuddin, 2001: 223)

UNNES JOURNALS Jurnal Komunitas 6 (2) (2014): 222-236 225 presumption that all aspects of a society or society certainly has the awareness and de- culture in many ways contribute its function sire that they expect after watching it. The in a society or culture. performers also have desire and expectation The theory of functions always belie- which lead them to be willing to practice, ves that a cultural system of an organism act, do the dance, or become dalang and so whose parts is not only interconnected but on. Therefore, Wayang Topeng Jati Duwur also providing a fair share of maintenance, has clearly contributed in the preferred ad- stability, and the sustainability of the life of justment or the manifest function in the the organism. Therefore, all cultural systems concept of Merton. Some of the manifest have certain requirements to realize its exis- functions of Wayang Topeng Jati Duwur for tence (Kaplan and Robert A. Manners, 2002: the society can be specified as follows: 77-78). Anthropologist, Radcliffe-Brown (1965: 44) reveals that functionalism is asso- The means of ritual ciated with social functions, which is writ- In the history of the life of the society, Java- ten that: “this one is .... the setting of its con- nese before knowing any religions, they had tinuous presence is that on a certain degree already possessed the concepts of animism it functionally obeys the principle between and dynamism as their beliefs, and then an the unbound sections of the social system”. influx of Hindu and Buddhist resulted in be- While Malinowski further emphasizes that lief syncretism. The mixture of beliefs bet- something works if it gives functional cont- ween one that used to believe in the power ributions to individual needs so that the sys- of the universe and another that believe in tem can live. The contribution of the theory the presence of the gods and spirits of the of functions from both anthropologists has ancestors creates new life patterns of the so- been relied upon the next anthropologist in ciety in times of old kingdoms in Java. Then, approaching social cultural functions of so- the introduction of Islam to Javanese does ciety. not mean to remove all Javanese living pat- Robert Merton adds the concept of terns that had believed in the presence of function by dividing the manifest and latent supernatural powers, deities, and spirits of functions or visible and hidden functions. the ancestors. However, the pattern of life of Manifest function is “the objective conse- the society syncretism between believing in quences that give contribution on adjust- invisible objects and also believing in God ment or adaptation to the desired system had been integrated in public life of Jom- and realized by participants of the system”. bang in the late nineteenth century and the Latent function is “the objective consequen- beginning of twentieth century. ces of cultural happenings that are not desi- As the evidence that the public of red or realized” (Kaplan and Robert A Man- Jombang still believed in the forces of un- ner, 2007: 79). seen objects, although they had converted The concept of Merton functions is into Islam was their belief to the mask in very precise to analyze the function of Wa- Wayang Topeng Jati Duwur performance. yang Topeng Jati Duwur for the society be- The society at the time often made use of cause Wayang Topeng performance often Wayang Topeng Jati Duwur to treat diseases brings out the latent function that is not rea- and also to release kaul or ujar or nadzar. lized by people and also artists to happen. Wayang Topeng Jati Duwur is better Therefore, the discussion of the function of known by the society as the mask of nad- Wayang Topeng will be reviewed based on zar. The term is coined in connection with its manifest and latent functions. the society’s belief that Wayang Topeng has a ‘tuah’ (sacred power) that can unburden The Manifest Functions kaul or nadzar or vows ever spoken when ha- Wayang Topeng Jati Duwur has had a long ving problems like when their son fell sick, life journey together with its society. In as- getting sustenance, and so on. The society king for Wayang Topeng to perform, the is certain that the mask in Wayang Topeng

UNNES JOURNALS 226 Setyo Yanuartuti, The Life of Mask Puppet in Jombang: Its Functions and Continuity

Jati Duwur performance can unburden every night of Friday legi, it’s always given when they have nadzar. Supriyo2 expressed sandingan. Sandingan or offerings that are his concern in his interview that if people provided, according to the local folk and ar- of Jati Duwur had kaul or nadzar, they will tists’ belief, are dedicated to the mask and watch the performance. Based on his opini- gong (one of musical instrument in Game- on, the masks in the performance especially lan repertoire). The spoken mantra is aimed the mask of Klono, Panji and Sekartaji are at great-grandpa Purwa (ancestor of Wa- believed to be sacred so they can detach or yang Topeng Jati Duwur) to pray and ask for release any nadzar or kaul (interview with permission to perform Wayang Topeng so Supriyo on 4th December 2011). that the performance can run smoothly and Society’s belief to the mask of Mbah safely. Sandingan for the mask and gong, Purwo that has tuah is related to the mask’s each are placed at different places, and the materials, the manufacturing process, and contents are a little different. Offerings or the form of the mask. The making of this sandingan for the mask, are considered as mask is carried out under a banyan tree in a present to the spirit in the mask (the un- the village of Jati Duwur every Friday legi seen). Sandingan to start the performance of (Javanese date) and is accompanied by fas- Wayang Topeng Jati Duwur can be seen in ting ritual for a whole day. The process ta- the picture below. kes years to complete because the manufacturing process should be accompanied by fasting and meditating (interview with Ngari October 2, 1993, and December 4, 2011 Supriyo). The mask of Wayang Topeng Jati Duwur is made of wood. The mask making process is carried out by means of a ritual associated with the magical aspect. The wood is cut in a triangular form so it creates triangular shaped masks. The tradition of making sacred masks is similar to the one in Bali as expressed by A. Agung Suryahadi in his article entitled “Traditional Balinese Mask” as follows.

Mask that will be used as a means of ce- remonies, the final process of the making is performing a ritual such as: prayasci- ta ceremony which is to clean the mask abstractedly. Then, to make the mask to have force of “taksu”, ceremony of pasu- pati is conducted. At the ceremony, the mask makers beg to the God Almighty for His strength to reside in the mask. In order to the mask to have supernatural Picture 1. Offerings/sandingan and incense power, ngerehin ceremony is then held ... ember for the mask before the performance. This mask is tenget; it means that the- (Photo source: Setyo, 2012) mask has magical power and is kept in a The ceremony to release nadzar is special room in the temple (Suryahadi). not always the same in various places. Each region or village has its way and tradition Ritual activities of the mask has also because the concern is not solely about the been performed by Sumarni recently, i.e. equipment but the ultimate goal is more im- portant. As said by Soedarsono (1976: 3 – 4) 2 Supriyo is someone who has led the group of Wayang Topeng Jati Duwur since 2001. it is not about the requirements or the ce-

UNNES JOURNALS Jurnal Komunitas 6 (2) (2014): 222-236 227 remonial methods that are noteworthy but ness of Panji Inukertopati, the patience of the spiritual needs of the playgoers that are Dewi Sekartaji, as well as the power to their at stake. After the show, generally, people struggle when they are forced to separate, will feel the calmness in his inner feeling but then they disguise themselves with all because they have released their promises to of the risks, can be taken as a useful value the God. and many more values which can be taken Based on the society’s belief, it indica- as probing the inner experience. tes that Wayang Topeng Jati Duwur at that The performance is expected to able time and even until recent day still has ma- to cultivate a sense of the audience or the nifest function. This is because the society young generation to be brought into the at- is fully aware and willing to hold the perfor- mosphere of the story. Therefore, the audi- mance. The performance will help them to ence will feel the inner experience and will release their kaul or nadzar as their promises be able to change their bad attitudes or be- to God in order to live achieve a better life. havior, be discerning in dealing with prob- Likewise, if the society prays to the mask for lems, more patience, and so on. having any diseases, the public knowingly expects the strength of the mask to be able The means of earning wages to cure the illness. As expressed by Pigeaud (1938: 139), the mask performance in Jombang used to be a The means of inner experience small show that performed only a few mask Edi Sedyawati (1981: 58) reveals that art has dances. This performance was encountered its value as an enjoyment manifested as ex- when it was conducted round the place from perience that contains image and process. A one house to another house. This perfor- work of art is called art if it gives happiness mance is often referred to amen. and satisfies the appetites through the- ex We are fully aware that this art was periences. Those experiences can be felt by indeed born from the performance used for each individual, depending on each person’s amen. As amen, the artists’ intention doing readiness. the performance was clearly to receive wa- Wayang Topeng Jati Duwur is a per- ges. After the artists of Wayang Topeng had formance art that has high ethical values or performed in accordance with the request of philosophical values. The story taken in Wa- the playgoers, artists would be given the wayang Topeng Jati Duwur is the story of Panji, ges. It is obvious that the artists of Wayang which is a philosophical story that is close Topeng fully aware and want to get money to the peasant society. The farmer society from his amen. It means that the purpose has always expected their farm to be fertile of amen is indeed to earn the money to live so that they can harvest abundant product. their life. Many fertility symbols are used in the per- At present time, Wayang Topeng Jati formance art. The story of Panji is one of the Duwur has surely not used for amen, but symbols of fertility. Through the story that the show has been conducted in form of always ends with the meeting and the uni- complex performance, since there are many on of Panji Inukertopati and Dewi Sekartaji, elements for art. There are the elements of symbol of fertility is very well understood by story, motion, and music or musical compo- the society of Jati Duwur. sition. The elements of art have been more Wayang Topeng Jati Duwur perfor- complete. It can be seen from the number of mance has been awaited by the farmer so- dancers, the number of music players and so ciety because it is considered to have been forth, thus performing Wayang Topeng has a symbol of fertility. It is expected with such become a huge mask performance. performance, it will grant the hope of the Wayang Topeng Jati Duwur perfor- society of bountiful harvest. In addition, mance began to be performed more in- through the characters in the story of Pan- terestingly so it can be sold and get more ji, guidance about the value of the noble- feedback, with the hope that it will be able

UNNES JOURNALS 228 Setyo Yanuartuti, The Life of Mask Puppet in Jombang: Its Functions and Continuity to earn more wages as well. Artists are keen munities who are looking forward to enter- to see if their wages from their performance tainment. can be used to live their lives. In other words, The entertainment function of Wa- Wayang Topeng has contribution that pos- yang Topeng Jati Duwur is increasingly vi- sess the objective consistency realized and sible at the present time -in the middle of desired by the performers in order to meet public life that has been easy to get enter- the needs of a living or economic condition tainment in any form. The villagers, mainly of their families. the older generation, are still loyal and wait As acknowledged by Tari, the oldest for the performance of Wayang Topeng Jati artist of Wayang Topeng, that: “Yes, quite Duwur. Unfortunately, the society seems to frankly I can say, I join this mask performan- be disempowered when they are not able to ce as an artist in order to get wages, so it can watch the performance anymore. Due to the be used to support the needs of my family, increasingly high living demand, Wayang ning. “ (Tari, interview on October 29, 2012). Topeng Jati Duwur has also been abando- Supriyo also supports the notion sin- ned by the artists because they should also ce long time ago. He states that the artists struggle to meet the needs of their families. participated in the performance of Wayang This has been expressed by the society when Topeng Jati Duwur want to increase the in- Wayang Topeng Jati Duwur is being perfor- come of their families. Thus, when the per- med. formers are asked to do a show without any payment, they will not do it (Supriyo, inter- The Latent Function view on November 15, 2012). Wayang Topeng Jati Duwur has lived long enough in the midst of Jati Duwur society. As Entertainment There are many kinds of donations that have Sumandyo Hadi reveals that some people been given by Wayang Topeng Jati Duwur to or artists create beautiful form of art for the the community. Merton reveals that there purpose of pleasure, either for themselves are many acts of culture in the society with or others. Most common people associated its undesirable objective consequences but with art have the core meaning of none ot- nonetheless they occurred. This function her than “pleasure” (Hadi, 2000: 310). It is is included as a latent function. Art perfor- clear that as a folk art performance, Wayang mance often gives different contribution Topeng Jati Duwur is long awaited by the than the expected one. Merton also reveals society, besides the expectation that it can that the hope dance which aims to be able unburden nadzar, it also can provide enter- to send rain does not always succeed in crea- tainment or pleasure for the artists, for the ting rain, but behind that expectation often society as well as for the playgoers. conjures mysterious function or other func- The characteristics of folk perfor- tion which promotes group solidarity. That mance art are presented with dialogue, function is latent function from a dance in dance and song; the element of comic al- the society (Merton in Kaplan, 2002: 80). ways appears; dramatic value is done spon- Wayang Topeng Jati Duwur as perfor- taneously; the performance is at the arena mance art, which has lived long enough in surrounded by audience; and using the local the society, has also provided the function language (Sumardjo, 1992: 19). Wayang To- out of the expected function and is not rea- peng Jati Duwur is created by the artists in lized by the artists nor the viewers and the the form of a simple performance as the trait responder community. As found on the hope of folk performance art is close to the peop- dance, Wayang Topeng Jati Duwur also has le. Through the simplicity of the form of the latent function that is forming social solida- show, and the elements of art that are close rity. Wayang Topeng performance is built by to the people, Wayang Topeng Jati Duwur is artists who originally have family-like rela- capable of providing entertainment for the tionship or kinship. When doing the perfor- people in the middle of the life of rural com- mance, the group members of Wayang To-

UNNES JOURNALS Jurnal Komunitas 6 (2) (2014): 222-236 229 peng come just like bringing together family functional perspective and the perspective relationship. The meeting at the performan- of evolution should be combined with a his- ce time is going to build and promote group torical perspective. solidarity. As revealed by Supriyo – the coor- Wayang Topeng Jati Duwur is one of dinator of the current performances, that the performance art that has been living in one of his motivations to reawaken Wayang the society of Jati Duwur Village, Kesamben Topeng at this moment when it is experi- Sub-district, Jombang Regency. The only encing a slump is because Wayang Topeng form of Wayang Topeng in Jombang is Wa- is one powerful means to gather citizens of yang Topeng Jati Duwur. The people of Jati Jati Duwur Village. Officials usually come to Duwur Village that mainly work as farmers where each performance takes place, as well used to be very certain that this Wayang as the people from various villages. Indeed, Topeng Jati Duwur is able to provide inner the purpose of going to the performance is peace and security in the society life. But simply watching Wayang Topeng, but in this when the society develops their belief and incidental meeting, officials use it to convey also pattern of their life, it will affect the life things that build the solidarity outside the of Wayang Topeng. Thus, to analyze the life show (Supriyo, interview on 5 November and the continuity or sustainability of Wa- 2012). yang Topeng Jati Duwur, in this case, it will In addition, when the performance be divided correspond to its functions and takes place, the people come, meet, and talk changes. to each other and it is possible that there are some deals; those are not planned. Such The Origin of Wayang Topeng possible interactions indicate that Wayang To trace the origin of performance art, Wa- Topeng Jati Duwur has contributed in buil- yang Topeng Jati Duwur existence histo- ding the social solidarity. rically is not easy, because until this study was made, there had not been any data that The Continuity of Wayang Topeng could be found. If it is investigated based on Performance art as a cultural product of so- the play or theme of the story that is perfor- ciety exists because it is needed by the peop- med that is Panji story, then it can be pre- le. Culture and society is a unity that cannot sumed that Wayang Topeng Jati Duwur is a be separated. Similarly, it happens to the legacy of Majapahit era. As expressed by Sal performance art and the society. In its life, Murgiyanto and Munardi that at the time performance art depends on its people, how of Majapahit, there had been a very popu- the society makes use of it and how people lar mask performance and the play of Pan- preserve it. The society always changes; time ji story was very popular (Murdiyanto and always changes; so performance art will also Munardi, 1979/1980: 12). Soedarsono also change. If the performance art is unwilling explains that there can be possibility that to change, gradually, it will be abandoned by it is indeed a legacy of Majapahit Kingdom, the society. i.e. from the mask performance called raket The existence and the continuity of that used Panji story. performance art have always been asso- To know the existence and the conti- ciated with its functions and changes. This nuity of Wayang Topeng Jati Duwur, it can can be interpreted that in order to investi- be divided over the category of dalang. This gate the life and the existence of a perfor- dalang category is selected to divide the fun- mance art, people must connect it with its ctions and its evolution since dalang is the functions and changes in the society. Kap- main player in Wayang Topeng, besides da- lan and Robert A Manner (2002: 94) reveals lang is the heir of Wayang Topeng. that to search the historical chronology, the Soenarto Timur in his writing entit- process of classification, categorization, and led “Topeng Dhalang di Jawa Timur” writes demonstrating the relationship between the that in Madura, people call the performan- types of events must be used. In this case the ce as topeng dalang, whereas in Situbondo

UNNES JOURNALS 230 Setyo Yanuartuti, The Life of Mask Puppet in Jombang: Its Functions and Continuity is more popular with the name of topeng sik – a region in Gresik Regency bounded by dalang kerte (East, 1979/1980: 1). The per- Mojokerto Regency. Sumarni still remembe- formance of Topeng Dalang in Madura uses red, when she was a kid, the mask was used Mahabarata as the story and Madura as the to ‘amen’ around by her grandfather and language. In accordance with the perfor- her parents (Sumarni, interview 4 February mance in Mojokerto and Jombang, Pigeaud 2011). explains that in those areas, there is a small In accordance with the origin of Wa- mask performance performed around from yang Topeng Jati Duwur, there was once sta- house to house and gives a bit of performan- tement expressed by Haryati in his research ce. In Jombang on Chinese New Year, there in 1993 that based on spoken data grown are mask performers going around which is in the village, it generally informs that the often called ‘amen’. Small mask performan- existence of Wayang Topeng in Jati Duwur ce in this area presumably consists of only village is inseparable from the life of a per- one or some mask dance/s (Pigeaud, 1938: son known as Purwo. Purwo was touted as 139). a pioneer in Wayang Topeng in Jati Duwur, Based on some writings about the Jombang. Initially, Purwo had two masks existence of mask performance in East Java, namely Klono and Panji. Both masks were it can be concluded that there are 2 things brought by Purwo from Legundi, Mojokerto, associated with Wayang Topeng Jati Duwur which were his parents’ inheritance. Becau- which serves as a proof about masks of the se both masks were inheritance from his pa- characters in Panji story created by Sunan rents as heirlooms, so wherever Purwo went, Kalijaga and the presence of raket at the they would always be taken, unexceptionally time of Majapahit Kingdom that also used when Purwo got married to a girl from Jati Panji story. The relation between Wayang Duwur village (Haryati, 1993: 30). Topeng Jati Duwur and those findings is that Wayang Topeng Jati Duwur uses Panji story until now for the performance. It means that Panji story used in Wayang Topeng Jati Duwur is actually the heritage of Sunan Kalijaga and also the Kingdom of Majapahit. If we see the form of the performance, the writings of the experts suggest that there are two kinds of performances; small performance and large performance. Small mask performance is what we call ‘amen’ that lived Picture 2. the form of Klana mask consid- among the people, while the large mask per- ered to have tuah so it can cure any illness formance is a complete mask performance (photo source: Setyo, 2012) that had been living among the kingdoms or got the attention of the Government such Agus as the chairman of mask deve- as Duke or Panembahan like in Majapahit, loper in Jati Duwur who made the replica then descended into the areas in Malang and of the mask in 2011, revealed that from the Madura. As such, the existence of the form wood used to make the mask, the age of the of Wayang Topeng Jati Duwur was original- oldest mask, Klana mask, considered as a ly a small mask performance that was once sacred item by its successor, is more than used by artists as the art of ‘amen’. It also re- 100 years old (Agus, interview 4 February fers to what Sumarni said as the only heir of 2011). Wayang Topeng Duwur Teak. In her opini- Based on some opinions and evidences on, Wayang Topeng Jati Duwur is the legacy that currently exist, the author tentatively of her great-grandfather named Purwo. At suspects that Wayang Topeng Jati Duwur is the first time, Wayang Topeng was brought the heritage of Majapahit Kingdom because to Jati Duwur by Purwo from Driyorejo Gre- it uses Panji as the story. This art was revived

UNNES JOURNALS Jurnal Komunitas 6 (2) (2014): 222-236 231 by the people in form of a small performance performance, it gave the people the belief which had function as ‘amen’. It was brought that Klana mask that Purwo owned had by an artist named Purwo to the village of tuah. Since then, people often watched and Jati Duwur and it has been identified to be asked for the performance (Supriyo, inter- more that 100 years old. It can be seen from view 5 December 2013). the wood used in the oldest mask. It is unknown what year and how Pur- wo died. The thing which can be tracked is The Development of Wayang Topeng that after Purwo had died, the manager of In the life cycle, there will be events of being the organization (group) and position of da- born and growth. Growth is the process of lang were held by the descendants of Pur- becoming or being big, many or widesp- wo. The official of Wayang Topeng passed read. Two major growth principles are (1) down from generation to generation. Myth the growth takes place from the simple to that has grown in the society of Jati Duwur the complex and (2) from the rough and is that the heir of the inheritance must be the global (gross bodily movements) to the the person who still has blood descendant subtle and specific but coordinated (finely of Purwo. Then, the entire things related to coordinated movements). the performance from the mask to the ot- The development of Wayang Topeng her supporting equipment must be placed Jati Duwur can be seen after Wayang To- in Purwo’s home. And indeed, the one who peng is in Jati Duwur Village. Currently, the- becomes dalang must be the heir or descen- re are 33 pieces of masks. Those masks are dant of Purwo. made by Purwo to add his mask collection Wayang Topeng has been made more and the ones that he possesses. Several years interestingly, it is not uncommon for Wa- after Purwo lived in Jati Duwur, he wanted yang Topeng to perform in the form of big to add his collection with some more masks, mask performance, without going around, and then he made some masks himself. The but directly perform based on the order. It masks have various forms of characters in- can be used not only for nadzar but also for cluding princess, bapang, priests, warriors entertainment in a marriage or circumcision and so on. Perhaps Purwo has the expertise ceremony. of sculpture. The mask making process was Since 1990 Wayang Topeng has been carried out under a banyan tree in the village managed by a headmaster of SD Jati Duwur every Friday legi, accompanied by fasting for named Madekar Hariyanto. Madekar Hariy- a whole day. The masks made are 31 pieces, anto is a leader who is not a direct descen- so overall there are 33 pieces of mask. dant of Purwo’s family, but he was believed Based on Supriyo’s opinion, Purwo’s by the heir of Purwo who had ever been his effort after having 33 pieces of mask was to adopted father. Madekar has been appointed purchase a set of gamelan from the village as a chief and a director since Asim became of Karang Belah, Sumobito. For the starting dalang until Samid took over. At this time, point, Purwo invited some of the families Wayang Topeng performance had been living in Jati Duwur to be trained to dan- able to perform more complex even though ce while playing with the mask, as well as not all elements of art have their aesthetic the gamelan musicians. Purwo did the co- thought. The society makes use of this art aching himself, as well as acting as dalang. just like before, as a ritual nadzar, and cer- Since then, Purwo and his family had played tainly to heal diseases, and also for enter- mask, which was carried out in front of his tainment. Now, it is not performed around own house. The group then went around the neighborhood anymore, but the society ngamen. That was when people asked them has to order first if they want to watch the to perform as they had nadzar. After that, performance. there had been people asking to be cu- The play of the story presented in Wa- red from diseases. When the desires of the yang Topeng now is still Panji story. It can people were fulfilled after they watched the also be seen from the form and the character

UNNES JOURNALS 232 Setyo Yanuartuti, The Life of Mask Puppet in Jombang: Its Functions and Continuity of the masks. The storyline has been arran- (Supriyo, interview 5 December 2013). ged like a performance of Wayang Kulit of Besides that, regeneration factor also East Java. influenced the deterioration of this perfor- The storyline is formed due to the mance. It was really difficult to do regenera- scenes as follows. tion and look for the replacement of dalang • Jejer Sepisan: Sabrang Kingdom scene (Sulastri, interview, November 10, 2013), so • Grebeg Sabrang/Bodholan that in the following years this group never • Bambangan scene/ Warrior of Java scene did any show (didn’t get any order). • The Failure of the War The other deterioration factor outsi- • Jejer Kapindho: Padeokan/Pertapan de the internal Wayang Topeng was social scene factor of people who were more interested • Jejer Ketelu: The Kingdom of Java scene in today’s entertainments, while there was • Brubuh War nobody in the society that wanted to release The venue of the performance is an nadzar with Wayang Topeng. The belief of open space field which can be the house yard the masks’ power was replaced by strong of the person who ordered it. Regardless of belief of religious guidance. Some factors the stage or elevation, it just needs sesek mentioned above had really caused Wayang (a kind of mat made of bamboo), then the Topeng Jati Duwur to not have any perfor- top of it is covered by mats. The numbers of mances until 2000. the required sesek are approximately 5 pieces, while the mats can be about 4 sheets. The Revival of Wayang Topeng When the show was performed during the This period is the beginning of the revival. day, a temporary building must be built at In 2001s, in Jati Duwur, there was a person the home yard which has four bamboo po- who strove to revive Wayang Topeng Jati les, roofed by sesek or tarps, called ‘terop’. Duwur. He is a teacher of Islamic religion in The building is meant to protect the players the primary school of Sidokaton, Kudu Sub- and pengrawit from the sun or rain. There district, Jombang Regency, named Supriyo is no special requirement for the size, but and commonly called Priyo. When he was it’s adaptable based on the site. For example a kid, Supriyo was an admirer of Wayang when the author held the observation, terop Topeng. Knowing the bad condition of Wa- was 7 x 8 metres, and this was only enough yang Topeng, Supriyo wished to revive the for dancers while pengrawit was on the ter- glorious performances of Wayang Topeng. race of the house. However, Supriyo was powerless because he did not have the ability and experience in The Deterioration of Wayang Topeng the artistic activity of Wayang Topeng. Shortly after Wayang Topeng had become a His intention to revive the art seemed more complex mask performance, it could to be beyond his ability, so he had to work not keep up. Very unfortunate that in the together with som artists from the outsi- early 1994s, the players had started to reach de the village but still in Jombang area. At old age (about 56 – 70 years old), this was that time, there were artists who were also because there wasn’t any regeneration in the incidentally interested in the work done by of dalang Darja. The time led to the begin- Supriyo; they are Hartono (dance artist) and ning of a deterioration of the Wayang To- Anom Antono (a young dalang with Cent- peng existence. It is estimated that Wayang ral Java style). With the help of Hartono and Topeng deterioration was caused by dalang. Anom, what Supriyo tried to do was to re- Since that year, the role of dalang had been generate the performers by recruiting young held by Samid. As the last line of dalang, boys in the village of Jatiduwur. Hartono Samid Purwo was reputed by people as da- and Anom, together with the members of lang who lacked in strength both in sound the old artists of Wayang Topeng Jati Duwur quality as well as in the creativity of storytel- that were still left acted as a resource person ling, so it increasingly became less attractive and coach who did a reconstruction (Suhar-

UNNES JOURNALS Jurnal Komunitas 6 (2) (2014): 222-236 233 tono, interview April 29, 2014). They did a less clear. The performers were not satisfied good job. In 2001, Supriyo succeeded to per- with the payment distributed, while accor- form ‘gebyakan’ which took place in front ding to Supriyo, it had been managed and of the heir’s house, Sumarni (descendant of distributed in accordance with the portions. Purwo). Since then, the group had been sulky and The form of Wayang Topeng Jati did not want to perform3. Therefore, Wa- Duwur now has been reconstructed in terms yang Topeng Jati Duwur had gone back to of repertoire and the clothes. In the attempt decrease. They had not had any performan- and process of the next reconstruction of ce until 2010. Wayang Topeng Jati Duwur that had been Supriyo did not stay silent. In 2011, done for 5 years, it got attention from other problems in the village could be solved. Bu- artists and Culture section of Department siness had been grown back again by Supriyo of Tourism, Jombang Regency. Finally, on 16 along with Heru Cahyono - Dalang Wayang September 2006, the group successfully per- Kulit Trowulanan style - and Dian Sukarno formed gebyakan again at Supriyo’s home - Dance Artist. This effort received good res- yard with the story of “Patih Kudanara- ponse from Arts Council of Jombang which wangsa”. Heru Cahyono, a young man from eventually supported the revitalization. The Jombang who graduated from ISI Yogyakar- revitalization began by making replica of ta majoring in Art of Pedhalangan became the masks. dalang. All replicas of the masks had been As a form of his concern, Nasrullillah successfully created initiated by the Arts who served as the head of Culture secti- Council, chaired by Agus, and had been on of Department of Tourism at that time, carried out by a sculptor from Ploso named brought the group to Jakarta to do a staged Triman. Triman had made a replica mask performance at East Java Platform, Taman just like the oldest mask owned by the heir Mini Indonesia Indah. From then on, the of Wayang Topeng Jati Duwur. The repli- show had turned into a show that is not ca making event was entitled “Revitalizing bound by the previous function. That me- Mask of Jati Duwur 2011”. The result of this ans that when they were asked to perform event was 40 pieces of replicas but they were at the event such as performance in Taman still not dyed so these masks could not be Mini Indonesia Indah, Taman Budaya, and used for the show. Together with the launch the other places, the function was no longer of the result of the event, performance and as means of nadzar ritual, but purely for the problems’ clearance of the group were held purpose of show that would be appreciated on January 25, 2011 at the Hall of Jombang by society outside of Jombang. Thus, the Regency. form of the show had been packed to have As an expression of gratitude for the shorter time, and could be carried out at revival of Wayang Topeng, the group held a night on a performance stage. Since then, mask performance at the house of the sole Wayang Topeng Jati Duwur had begun to be heir to the mask (Sumarni) 4th December known by people in Jombang and the sur- 2011. This show took a story of Patah Ku- rounding areas. danarawangsa. However, the emergence of The revival of Wayang Topeng was not Wayang Topeng has always been related to really smooth. After they were asked several the requests from the Tourism Departement times to hold a show outside the area of Jom- and the Arts Council as well as the good in- bang, there was feeling of turmoil among tention of the heir. Therefore, the intensity members of the group. There was misun- of the performances has not been stable; it derstanding occurred between Supriyo as means that it depends on the request of the the developer who was as well a leader, with Department. the heir and the performers. It was acknow- Not so long ago, it was 29 September ledged by Supriyo that there was misunder- 2012 Supriyo along with his group members standing related to the payment which was 3 Supriyo, wawancara tanggal 25 Nopember 2011.

UNNES JOURNALS 234 Setyo Yanuartuti, The Life of Mask Puppet in Jombang: Its Functions and Continuity requested by the Department of Tourism and Culture of East Java, to perform in the event at Mpu Tantular Museum, Sidoarjo. The show was held in the courtyard of the museum with a mat-layered stage and fitted with a background of plain white fabric. This performance demonstrated the story Patah Kudanarawangsa. The selection of the story according to Heru Cahyono – dalang who had participated in rebuilding Wayang Topeng Jati Duwur – was because the story Picture 3. The recent performers taught by Su- that had been successfully performed was priyo (photo source: Setyo, 2012) this story. Heru as dalang from outside of this group had not yet dared to bring another story. The attempt to revive Wayang Topeng was still not fully realized by all group members. Thus, misunderstanding was always repeated in the body of this group. As it was not long ago, on 20 December 2012 Wayang Topeng Jati Duwur was asked to perform a stage in the festival of Kalijaring in Jom- bang, but it could not be held because the performers asked for the same payment as when they got tanggapan. Meanwhile, the Department of Tourism could not give the expected payment so the performers did not Picture 4. Dalang, Heru Cahyono in the perfor- want to perform. As a result, the Depart- mance at Mpu Tantular Museum ment of Tourism held a part of performance (photo source: Setyo, 2012) of Wayang Topeng Jati Duwur but instead of fulfilling the artists or the group’s wish, they asked one of the dance classes in Jombang to perform. And it did seem to raise new problems in the life of Wayang Topeng Jati Duwur. Based on events that have been experienced and lived in the life of Wayang To- peng Jati Duwur, it is clear that the life and the deterioration factors of Wayang Topeng Jati Duwur are caused by several factors; the Picture 5. Wayang Topeng Jati Duwur perfor- main factors are the artists or the performance held at Mpu Tantular Museum mers, its supporters, and the art itself. Fac- Surabaya September 29th 2012; Sabrang King- dom scene tors from the outside such as the Govern- (photo source: Setyo, 2012) ment and the social condition of the society also have a role in public life. Therefore, in CONCLUSION this current condition, it requires the atten- Wayang Topeng Jati Duwur is a folk perfor- tion of the Government and also those who mance art which has its philosophical va- sincerely wish to develop Wayang Topeng lue which is used by the society as a guide Jati Duwur without any other intentions. in their daily life. It has contributed a lot of things to the society which consists of manifest and latent functions since its appearan-

UNNES JOURNALS Jurnal Komunitas 6 (2) (2014): 222-236 235 ce in the village of Jati Duwur. On the basis Hadi, S. 2005. Sosiologi Tari. Yogyakarta: Pustaka. of objective consequence that has been de- Haryati. 1994. “Wayang Topeng Jati Duwur di Desa Jati Duwur Kecamatan Kesamben Kabupaten sired and realized by the artists and society, Jombang (Studi tentang bentuk dan makna Wayang Topeng has been functioning as a pertunjukan)”. Skripsi. IKIP Surabaya. mean of ritual nadzar, as a mean to probe Herbert, R. 2000. Seni: Arti dan Problematikanya. Terj. the inner experience, and as a mean to earn Soedarso SP. Yogyakarta: Duta Wacana Uni- a living. Behind its manifest function, Wa- versity Press. Holt, C. 2000. Melacak Jejak Perkembangan Seni di yang Topeng also has other contribution as Indonesia. Alih bahasa Soedarsono. Bandung: a mean of developing a sense of solidarity in Arti Line. the society. Kaelan. 2012. Metode Penelitian Kualitatif Interdisipli- ner: Bidang Sosial, Budaya, Filsafat, Seni, Aga- The life and the continuity of Wa- ma, dan Humaniora. Yogyakarta: Paradigma. yang Topeng Jati Duwur were very tor- Kaplan, D. and Robert A. M. 2002. Teori Budaya. Yogya- tuous and experienced ups and downs karta:Pustaka Pelajar. Kayam, U. 1981. Seni Tradisi Masyarakat. Jakarta: PT. of life brought by Purwo, then passed Sinar Harapan. down to his descendants and eventual- Kayam, U. 2001. Kelir Tanpa Batas. Yogyakarta: Gama ly the group is led by people outside the Media. Koentjaraningrat. 2010. Sejarah Teori Antropologi I. descendants, until now it’s still not stab- Jakarta: UI Press. le. The life and the continuity of Wayang Koentjaraningrat. 2010. Sejarah Teori Antropologi II. Topeng have been influenced by several Jakarta: UI Press. Kuntowidjojo. 1987. Budaya dan Masyarakat. Yogya- factors. The main factors are the artists karta: Tiara Wacana. or the performers, its supporters, and the Langer, S.K. 2006. Problematika Seni. Terj. FX. Widaryan- evolution of art itself. Other factors that to. Bandung: Sunan Ambu Press dan STSI Ban- dung Press. affect its life are the Government and Marinis, M.D. 1993. The Semiotics of Performance. the society as well as the observers of the Terj. Aine O’Healy. Bloomington dan Indiana- arts. polis: Indoana University Press. Moleong, L. J. 1988. Metode Penelitian Kualitatif. Ban- dung: PT. Remaja Rosda Karya. ACKNOWLEDGEMENT Murgiyanto, S. 1982/1983. Pertunjukan Topeng di Jawa: A big gratitude goes to the Ditlitabmas Dikti Analisis Kebudayaan. Depatremen P dan K ta- who has provided research funding for the hun III no 2. arts sector in the fiscal year of 2013/1014. The Murgiyanto, S., et. All (ed.). 2003. Mencermati Seni Pertunjukan I: Perspektif Kebudayaan, Ritual, gratitude are also addressed to the Rector Hukum.Surakarta: Program Pascasarjana STSI of the State University of Surabaya, Dean of Surakarta. the Faculty of Languages and Arts that have Pigeaud, Th. G. 1938. Javaanse Volksvertoningen. Bata- approved the proposed research, as well as via: Volkslectuur. Raffles, T.S. 1917. The History of Java. Kuala Lumpur: to the Chairman of the Major of Drama, Oxford University Press. Dance, and Music, Faculty of Languages and Ratna, N.K. 2010. Metodologi Penelitian: Kajian Budaya Arts, UNESA that has given the writer facili- dan Ilmu Sosial Humaniora Pada Umumnya. ty support during the research. In addition, Yogyakarta: Pustaka Pelajar. Ritzer, G. 2003. The Posmodern Social Theory. Juxta- the researcher gives her gratitude to Supriyo pose research and Publication Study Club. as the resource person, Tri Sulastri as Chair- Royce, A.P. 2007. Antropologi Tari. Terj. F.X. Wida- man of Wayang Topeng group who has gi- ryanto. Bandung: Sunan Ambu Press STSI ven the writer information and opened the Bandung. opportunity to do observation. Rustopo, ed. 2012. Seni Pewayangan Kita: Dulu Kini dan Esok. Surakarta: ISI Press Solo, Rustopo. 2008. Krisis Kritik: Seperempat Abad Pasca REFERENCES Gendon Humardani. Surakarta: ISI Press Sura- Brandon, J.R. 1989. Seni Pertunjukan di Asia Tengga- karta. ra. Terj. R.M. Soedarsono. Yogyakarta: ISI. Soedarsono, R.M. 1984. Wayang Wong: Drama Tari Darsono. 2007. Budaya Nusantara. Bandung: Reka- Ritual Kenegaraan di Keraton Yogyakarta. (Yo- yasa Sains. gyakarta: Gajah Mada University Press. Hal. Darsono. 2007. Kritik Seni. Bandung: Rekayasa Sains. 7-10.

UNNES JOURNALS 236 Setyo Yanuartuti, The Life of Mask Puppet in Jombang: Its Functions and Continuity

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