EBEGIG SUKAMANTRI: ASTRAL SUNDA HERITAGE IN BINDONESIA

Edi Setiadi Putra, Rosa Karnita* Institut Teknologi Nasional (Itenas) Bandung, Indonesia

Keywords: Bebegig Sukamantri, astral, Sundanese, mask, heritage

1. Introduction

This study seeks to reveal the meaning and function of the Bebegig Sukamantri mask. Bebegig Sukamantri is a carnival art that uses a large wooden mask with creepy facial characteristics. The research was conducted to determine the type of mask char- acters and their meanings in Sundanese culture because no researcher has ever made an analysis based on an interpretation of the mask design. The research was conducted using qualitative methods in the form of triangulation techniques which refer to the use of various methods or data sources to obtain a comprehensive understanding of the cultural heritage and socio-cultural phenomena that have developed in Sundanese society in Indonesia. In Ciamis Regency, West , Indonesia, there are six fast-growing carnival arts, namely Bebegig Sukamantri, Pontrangan, Mabokuy, Buta Kararas Tilas, Wayang Land- ung and Mengmleng Art. Carnival art is a colossal art performance in the form of a pa- rade accompanied by music, songs and theatre. Bebegig Sukamantri carnival art won the ORI (Original Record Indonesia) award in 2016 as the record-breaker for having the highest number of dancers. In 2018 the Government of the Republic of Indonesia established Bebegig Sukamantri as part of Indonesia’s intangible cultural heritage and it has subsequently become a famous cultural icon of the province of . Bebegig means scarecrow. Its function is to scare people who cross certain limits in restricted areas. Bebegig Sukamantri, however, is different from the scarecrow in general because it has a distinctive shape and character. The visual character of Be- begig is unique because it only exists in West Java, Indonesia. The function of the Bebegig, according to Dais Darmawan [1], is to act as a representation of the guardian of the surrounding natural environment based on the word bebegig and refers to the scarecrow used by villagers to ward off and scare pests. The history of the Bebegig is not found in ancient Sundanese texts, except in the form of fairy tales or legends that are narrated and passed on from generation to generation. Bebegig Sukamantri is a mysterious, mystical and mythological form of performing art. Each Bebegig dancer adopts a very frightening attribute by wearing a large mask representing the characteristics of the face of the fierceBatarakala and they are dressed in palm fiber costumes with a headdress made from forest leaves and usually carry a replica of an ancient weapon. The dancing is very agile and manly, and their behaviour tends to be arrogant. The form and appearance of the Bebegig Sukamantri are related to the ancient Sundanese culture which is linked to the era of Hinduism.

* Corresponding author: [email protected] 182 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia Sunda by BhreWengker whowaswearinga opinion, the the opinion, entitled:“ the form of old Javanese verse. It was re-adapted by C.C Berg in 1927 into Dutch and and visually observed the the observed visually and was carried out through an ethnographic approach. Researchers conducted interviews about 54different known mask designs. found process this of result 2019. The in published Indonesia, in media social various combinations andwasdefinedaccordingtothecharacterofmask. of theastralcultureSundanesepeople. three different types of characters, the three characters having the potential to of be icons existence the indicate found values. based groups grouping on cultural This would character Sundanese that features visual the between similarities find to fangs. The visual analysis of the attributes of the mask decoration was also carried out clude the details of the facial features, the expression and the shape of the molars and in- mask the of characteristics attributes. The ornamental mask’scharacter, and color based on similarity in masks the the design of elements. The design interpretations elements and observed included types the different the grouped Researchers products. a differential semantic analysis of the distinguishing elements of the design in the mask due tothelimitedliteratureandinadequatedatathatwerealreadyavailable. the when Sukamantri Bebegig the (1313-1364).the during heyday its reached art mask of growth the that states Sundanese textsexceptintheformoffolklore. of of the presence The history nesia. It is a form of empathy and admiration for the preservation of this ancient culture. about articles write people of lot chronicle ofhistory, althoughitislikelybasedonfactualevents. cultural heritagethendeveloped overtimeintotoday’s colossalcarnivalart. wore Kingdom Sunda the patrolling troops the kingdom, the of territory the protecting in since enemies, repel and territories guard to This areas. strategic several in installed the of replica a made king, Sundanese next the Kingdom of Sunda (932-1579) (932-1579) Sunda of Kingdom The story of the the of story The The process of interpreting the symbolic meaning of the 2. collected also Researchers Color interpretation analysis was performed on the dominant mask colors and color In examining and interpreting the meaning of the mask, the researchers carried out Scientific studies about the the about studies Scientific 2.1. Research on the on Research To the commemorate Prabu Maharaja Linggabuana Linggabuana Maharaja Prabu or Literature review History oftheBebegigmask KidungSunda.inleiding.tekst.vertalingen aanteckeningen.BKI83 1-169 Kidung Sundayana Kidung Sunda Kidung TheMajapahit Bubat Panji mask mentioned in the historical story of story historical the in mentioned mask Bubat Bubat mask that developed in the Kingdom of Kediri (1042-1222) Kediri of Kingdom the in developed that mask tragedy was later written in a poetic book entitled entitled book poetic a in written later was tragedy Bebegig should be considered a literary work and not an accurate accurate an not and work literary a considered be should maskis thought to have something to do with the shape of . Kidung Sunda Bebegig Sukamantri, Sukamantri, Bebegig Bebegig Sukamantri Bebegig Bebegig tragedy, tragedy, Bebegig Sukamantri Bebegig dancers and mask-making artists. This was done done was This artists. mask-making and dancers were attacked by attacked were and his daughter,Citraresmi, his Pitaloka and Dyah Bebegig mask photography documentation data from data documentation photography mask Bebegig Mangkubumi Hyang Bunisora Suradipati, Bunisora Hyang Mangkubumi is an ancient 15th century literary work in Bebegig mask [2]. Bebegig mask therefore functioned as a way a as functioned therefore mask mask are still scarce, but quite a quite but scarce, still are mask moreover, is not found in ancient in is moreover, ancient not found Bhayangkara and and Majapahit Bhayangkara on various social media in Indo- in media social various on masks. This particular form of form particular masks. This mask as a totem which was which totem a as mask Bebegig Sukamantri

Majapahit the Bubat Bubat Empire Empire tragedy tragedy ”. In his In”. Kidung Kidung mask from led led as ment of religious structuresandoftenresultedinincreasedactsof humanism. [7]. outside displayed successfully also were Masks culture. stereotypical and society ant art of mask making. The mask is also used as a tool to criticize the norms of an intoler the of panorama unique a creating in structures social influence masks Indian of tions interpreta various The rituals. and beliefs religious languages, races, various tions, the world. Changes in the meaning of masks occur based on different meaninggeographical of loca- masks because they have been closely intertwined withvarying interpretations. In Indian othermask culture, there are cultures complex interpretations of the across tures are found all over the world. Almost every nation has an exclusive mask type with tion ofmaskwork[6]. implementa or knowledge offer who teachers for available articles journal and shops as a methodology for acquiring a basic knowledge of the art and there are many work- vantages [5]. In drama, teaching and learning about masks is carried out and presented gagewith anthropological concepts infulla curriculum, would provide considerable ad- en- to schools for potential the reframing and education mask of application The tion. educa formal in development child for as such field, academic the outside education broader a of benefits the supports society in masks of purpose the that shows which derstanding of the past and present, anthropology offers a context of masks and drama throughspecialized knowledge ofdrama and theater practices. Based onculturala un- ertheless, they are consistently used in drama education and are usually Nev- contextualizedpresent. and past between link a as serves undoubtedly but purposes, practical through the culture experience of making African about African learn masks using experts authentic African education symbolism [4]. cultural Some culture. of form African this of wisdom local and heritage the understand to educating, of means a as masks traditional of function the shows in Africa masks of meaning the of development the on Research process. educational an into heritage cultural introducing of a means as more developed has it example, for in Africa, tourism, fostering of means a into oped devel have masks traditional Indonesia in If [3]. industry tourist local the of part come be have objects art that so commodity, a into art transformed has Indonesia in tion Commodifica purposes. commercial for dance production mask and tourism masked performances, namely factors, three by influenced been has art of value the which in change of process a been has there that show Java), East from puppetry shadow ucts fortourism. thenticity has been maintained, some of them have been developed as souvenir prod- au their and heritage cultural traditional as preserved been have them of most while and change of dynamics significant experiencing are Indonesia in arts Various mask puppet art from West Java) tions in the masks show the dynamics of the Sundanese artist community who are who community active increatingnew,artist uniqueanddiverseaspects (Figure1). Sundanese the of dynamics the show masks the in tions varia- character.character carnival various a The into developed has it disasters, ling a change in meaning and function over time and from being a reinforcement for repel is very large and heavy and has a creepy facial appearance. The mask has undergone Research on the meaning and function of masks in Indonesia refers to the develop 2.2. The Thenumerous articles about masks canbestudied inmany contexts, asmask cul- In advanced western societies, the traditional use of historical masks is now beyond The results of research on the development of the Bebegig Sukamantri wayang wong Development inthemeaningofmask (classical Javanese dance) mask dance, and various other arts that use masks as the main attribute. mask is different from other masks in the world. This mask wayang kulit Malang wayang golek art (leather (wooden ------183

Conservation science in Cultural Heritage 184 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia the public, the upper and the lower classes, the glamorous and the old-fashioned [9]. shows have created firm boundaries between the center and the periphery, the elite and centers,elitesocieties, lightsglitteryand costumes.often realizedisnotIt that fashion fashionshow,ofkind alwaysassociated glamour, iswithwhich luxury, hotels,citystar festivals aspartofsubculturalnetworksandspectacles[8]. are the festivalgoers, festivals as spaces where cultural identity negotiations take place, emphasizes simplicity by using natural ingredients that are widely available in village in village available widely are that ingredients natural by using simplicity emphasizes begig Sukamantri carnival (Figure 2) is very different, as this carnival avoids luxury and the But world. the across cities several in festivals flower or Festival) (Rio Janeiro It is commonly understood that in carnivals, the mask can also be compared to a to compared be also can mask the carnivals, in thatunderstood commonly is It festivals folk on studies cultural of perspective the from topics common most The 2.3. The development of carnival in Indonesia is similar to that developed in Rio de de Rio in developed that to similar is Indonesia in carnival of development The Development ofacarnivalperformance Figure 2.BebegigSukamantriParade(source:koropak.co.id). Figure 1.SeveralprofilesofBebegigSukamantri. Be- mantri ishighlyappreciatedandfostersalotofempathyfromthewidercommunity. result, a Indonesia. As of Government the by developed efforts vation forests. This approach is strongly sustained because it is relevant to the forest conser of the of the process of product design analysis, regarding the colors, characters and attributes been preserved but are not clearly identitified in people’s general perception. Through signs involvingiconsorandanyotherdistinguishingmarks[10]. de mask the in meanings hidden possible find to made search a and examined then which provided the final results and important data. The qualitative descriptiveused studybased was on a perception of the concept of similarities and differencesthe meaning of the in characteristics and attributes maskof a mask, design, visual design analysis was approach, namely through visual observation and structured interviews. To understand in Figure 3. Figure in of historical meaning and the possibility of change and development. This is illustrated the of understanding and habits behavior, the of picture a complete re that so activities meaning community cultural various in their involvement and quires values and concepts the Understanding combined. culture and technology science, of view of point the from them at look to necessary kamantri the of character original the forms interaction This culture. and nology Sukamantri Bebegig team inthecraftingofmasks[13]. research the of members involving by out carried was process design participatory a ing their actions. Additionally, to find out what techniques are employed in mask making, vation activities were carried out, namely by “observing what people do” and document- stand “what people say they do”. In understanding cultural values, ethnographic obser- mask craftsmen and and craftsmen mask Sukamantri about Literature [12]. sources multiple from information of convergence the found [11]. of visual analysis, 54 pictures of the the of pictures 54 analysis, visual of process the In used. is masks the there of but character the regarding discussion well-publicized, no is absolutely carnival the about News Indonesia. in media social the of videos scientific, technologicalandculturalvaluesofthe masks, other attributes, such as clothing, headdresses and weapons are not dis not are the weapons of and directly. analysis cussed headdresses visual clothing, as the such on focus attributes, To other masks, attributes. other and color mask facial the features, in found were differences significant most The another. one from differed The purpose of this research is to find aspects about on research the earlier mentioned As In collecting visual data about the data about visual In collecting the of design character and appearance the of made was analysis data Avisual under accurately to traditionally, conducted were interviews collection, data For The study employs triangulation techniques as a strategy to test validity data, through Bebegig mask as a cultural product. To focus on understanding mask products, it is is it products, mask Tounderstanding on focus product. cultural a as mask 3. is very scarce, so to find additional data, inteviews were carried out with with out carried were inteviews data, additional find to so scarce, very is Methodology Bebegig Sukamantri Bebegig mask, it is hoped that an objective benchmark for comparison can be can comparison for benchmark objective an that hoped is it mask, mask using a pattern of connectedness between science, tech science, between connectedness of pattern a using mask Bebegig dancers; this contributed to further understanding the the understanding further to contributed this dancers; Mask Carnival were also collected from various various from collected also were Carnival Mask Bebegig Sukamantri Bebegig Bebegig Sukamantri Bebegig Bebegig Sukamantri Bebegig Bebegig Bebegig Sukamantri people is obtained, both in terms terms in both obtained, is people Bebegig Sukamantri mask were selected which which selected were mask mask, images, photos and photos images, mask, uses an ethnographic ethnographic an uses mask. Bebegig Suka- Bebegig Bebegig Su Bebegig that have Bebegig Bebegig ------185

Conservation science in Cultural Heritage 186 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia on the forehead), “ on the forehead), mark (a cakra” “tilak were found headdresses The necklace. and headdress a of use similarities and differences. The components observed in each of the and shapeofthehorn. shape and length; (e) gum shape; (f) tongue shape; (g) eyebrow shape; (h) the position consisted of the (a) shape and color of the eyes; (b) nose shape; (c) ear shape; (d) tooth Other distinctive features that were noted in the 4. The analysis of the 54 selected 54 the of analysis The Result anddiscussion Figure 3.Schematicrepresentationofresearchmethod. Figure 4.ClassificationofBebegig Sukamantrimasks. topong ” (a cloth tie), ” “ (a tie), cloth Bebegig Sukamantri Bebegig makuta ” (a royal crown), and horn. ” and are horn. There (a crown), royal Bebegig Sukamantri mask designs found several found designs mask Bebegig mask was the masks, two types of necklaces, namely “ different detailsarenewandcontemporarycreations. beings. Some of the same details can be developed as immutable provisions, while very picture is seen, where each type of mask is associated with the three icons of the astral Denawa ter, these three types of are characters of depictions astral beings, as identified of three types of types three of This grouping of there are three types of guardian deities who protect the three social groups of the the of groups people. Sundanese social three the protect who deities guardian of types three are there tion XXII (15th century) of the lontar text “ 4. 3. tector of the the of tector 2. 1. warriors) [14]. This isrepresented inFigure4.

Based on the attributes of the three types of are foundinmany similar to a dot, but there is also a compound called a called a compound also is there but a to dot, similar of astral beings who have a task. particular tion of a eye third but rather, is a sign of purity, as or spirit a as a protective marker located on the forehead or between the eyes. of The existence beads) aroundtheneck,beltcollar, bonenecklaceandtherattanstrands. Dénawa’s bands withoutanydecoration. warriors the wore and simple helmets or helmets with horns. The decorations, head sparkly valuable more wore aristocrats The simple lifestyle, only uses a headband made of a sarong or a piece of of a piece or a sarong of made a headband uses only lifestyle, simple a to accustomed commoner, or Afarmer obligations. and rights their to adjust to for The of concept different accessories represents adifferent meaning fortheBebegig color Each hues. yellow and white green, black, red, of color, consisting face The Similarity factorsidentifiedasgroupmarkersinclude: and and reishi Rakshasa distinctive attributes are the large large the are attributes distinctive Bebegig Bebegig Sukamantri Bebegig (clergy) and and (clergy) is the protector of the of protector the is Detya Figure 5. Attributes ofBebegig Sukamantrigroups. tilak chakra, tilak Réshi . The three names of these astral beings are revealed in sec in revealed are beings astral these of names . three The mask characters. In accordance with their form and charac- and form their with accordance In characters. mask orDénawaBebegig japamala Rakshasa a in marker the sacred form of dots or shapes, other mask features raises the matter of the existence Sanghyang Siksa Kanda ing Karesian ” (made of prayer beads) and is the protector of the the of protector the is Detya Bebegig Sukamantri Tilak Tilak chakra masks(Figure5). (peasants), rama japamala Tilak chakra does not have the func - , , characters. Denawa reshi only used turbans and head mandala necklace (made of prayer prayer of (made necklace is a generally single mark, and Rakshasa ratu Danawa mask, a fairly clear . . Mandala Butakala (aristocrats and and (aristocrats is an effort batik is the pro- the is patterns patterns (fangs). ”, where Detya cloth. cloth. - - , 187

Conservation science in Cultural Heritage 188 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia Bebegig other to threat or danger of level the indicating fangs, large very many have generally 05 areacombinationof lace. of characters. Figure 6 shows 15 designs of ferent functionsandrolesofthe of of the accompanying music are generally very lively andblack masked dancer noisy.tend to be unpredictable. The dance movements and Figurethe rhythm 7 shows 15 designs bitter enemy of the red 19,20, 21, 26, 28, and 29) with a begig is different when compared to Greek mythological monsters,figures because suchit does asnot showthe a Minotaurcomplete manifestation or Centaur.of animal characters. is a visualization Thisof knights. This horn is not interpreted as a visualization of animals or cause they use a crown or head jewelry. Some of the masks have horned helmets, which Dénawa (numbers 01, 02, 05, 09, and 11), which are adorned with a Bebegig masks that are predominantly black consisting of The black 4.2. red arena, the In The group of red of group The The classification based on the dominant color of the 4.1. The black mask designs (numbers 20, 24 and 29) belong to the (numbers 02 and 05) also has a crown. In particular,In crown. a has and also 02 05) numbers and 02 (numbers Rakshasa mask never dances alone, but always collectively, to form a long flowing procession. ; redBebegig Meaning andcharacteroftheblackBebegigSukamantri mask Meaning andcharacteroftheredBebegigSukamantrimask Bebegig mask represents the character who dominates the arena and is the Bebegig Bebegig maskdancersmustbetallheavyadults. Bebegig Figure 6.RedBebegigSukamantrimasks. Dénawa masks is a visualization of angry, arrogant, dangerous angry,arrogant, of visualization a is masks mask. Black represents mystery, so the movements of the masks show a dignified but dangerous character and character dangerous but dignified a show masks Bebegig andRakshasa Japamala inthecarnivalscene. Bebegig necklace and fanga necklace. Ablack . masks dominated by red consisting Bebegig Dénawa mask shows the dif- Rakshasa (numbers 16, 18, Japamala group be neck- Be - - Rakshasa – masks black of group a shows 8 Figure leaves. dry, of blackish made The oldest mask attribute can be identified by the use of coconut fibers and a newheaddress and very different mask creations and are produced by mask craftsmen every year. ples ofancestrallifeandthelawbehaviorthatupholdstogetherness. princi the upholding in determination shows mask This mask. oldest the of color the opment of As the oldest oldest the As According to the elders of the – and being the oldest Bebegig Bebegig Figure 8. A groupofblackBebegig Sukamantrimasks. art to date. Figure 7.BlackBebegigSukamantrimasks. mask, the black mask triggers the birth and appearance of appearance and birth the triggers mask black the mask, Bebegig Bebegig Sukamantri masks it is these that have spurred the devel dance group, the black mask is Dénawa and and - - 189

Conservation science in Cultural Heritage 190 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia to presentavarietyofdifferent “monsters”,butmostfailed. dangerous figure. The mask-makers saw non-Batarakala and a fierce ofpresenting difficulty the cited have makers mask several and anomaly freedom to create. The creation of colored masks other than black, red and green is an mense power. gradually become larger showing points. in The has crown several of sprinkled cut carvings gold and ornate gemstones and generallyrepresentsagroupoffarmerstaskedwithprotectingforestareas. ing rough, scaly skin. are intermediaries and peacekeepers. They are generally made with the effect of hav- masks Green teeth. sharp and blood fangs, huge add craftsmen many visualization, In a to order are more visible. terrifying maintain still and courage its ferocity although animist anddynamicbehavior. concept of a fusion between ancestral spirits and the natural environment as a form of the to leads it that so head the on leaves green of addition the with substantial more village communities and the surrounding forest area which is dominated by green. green. by dominated Figure 9showssomegreen is which area forest surrounding the and communities village It is of between a that energy natural as exists manifestation relationship a mutualistic The The 4.3. The presence of 4.4. The dominant green color in the green green the in color green dominant The Rakshasa The existence of the ancestral spirits is visualized in the form of a green a of form the in visualized is spirits ancestral the of existence The

Bebegig Sukamantri Bebegig masks Meaning and character of the white, yellow and blue Bebegig Sukamantri Meaning andcharacterofthegreen masks are in masks green have a color, kind of with and crown generally royal Bebegig Détya Figure 9.GreenBebegigSukamantrimasks. (numbers 34, 37, 38, 39, 40, 42, and 45) has special marks masks in white, yellow, blue, or other colors, indicates the Bebegig green mask is less scary than the red and black mask, mask, black and red the than scary less is mask green Rakshasa’s position as a noble of high rank and im- masks: Bebegig Sukamantri Bebegig Bebegig Sukamantrimask characters as an opportunity mask becomes even even becomes mask Bebegig . mask makersgenerallytryto present newanddifferent creations. bers masks of of wear the pride. their respective community This is an when occasion mem- all day particular this on because enthusiasm great with carnival the joins alike, and is especially important in welcoming Independence Day. Everyone, young and old nity is grateful for and is seen as something positive, not something that is ple,unacceptable. eliminating the therehave been very significant changes, most of which reject this mysticism. For exam human strengthandmuscles. the local wisdom that shows a certain genius in astral connecting energy with physical is of part energy astral to present community of the Sukamantri The ability the public. astral energy makes this this of art even more interesting, existence as The well as captivating hours. 5 and entertaining than for more for mask kg 80 an control and wear natural powers play an important role as a channel for energy for ered sacred. Village Sukamantri this performed ritual in the burial ancestral area which was consid of people the times, In ancient areas. mountain and in forest together praying people called are which dances and carnival of the ers claim that the non- the that claim ers mak The mask characters. different featuring 52, 53, bers and 54) are new creations original the public dislikes them and are consequentlybecause disappear not quickly accepted, designs whereasmask new the These short-lived. very were they but based on such Western as popular and characters elves, orcs, vampires, werewolves tics are to referred as or monsters, other in evil popular folklore. creatures Sundanese irreplaceable. Figure10showsaselectionofthesenewcreations. is and culture of their part is a long-established creatures astral Sundanese featuring The However, for the young generation of In the 4.5. The white, yellow and blue blue and yellow white, The The younger generation of Bebegig Bebegig Bebegig Sukamantri Mask Carnival is only held on major holidays in Indonesia Sundanese astralcultureintheBebegigSukamantricarnival Bebegig Bebegig Sukamantri carnival there are ritual events performed for the safety Bebegig Sukamantri is basically an art related to mysticism, where super- characteristic is the face of Figure 10.SelectionofnewBebegigSukamantrimasks. tawasulan Batarakala ritual in sacred tombs is a major change that the commu Bebegig mask makers have tried to make new creations Bebegig Sukamantri Bebegig character is not not is character Bebegig Sukamantri Batarakala tawasulan Bebegig Sukamantri Bebegig masks and animal shapes (num shapes animal and masks . These rituals take the form of form the take . rituals These . Masks with other characteris dancers and mask makers Bebegig Bebegig , because the the because , dancers who mask ------191

Conservation science in Cultural Heritage 192 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia Bebegig and urbanization. Currently, many of the natural resources used in the manufacture of how to preserve this art from the threat of changes in the lifestyle of rural communities a patrioticduty. Inallarenas,evilalwayslosesandtherighteouswin. and The is that moral of war evil is is obligatory against this program that self-defense quite fierce, but generally ends with mutual forgiveness and walking Sukamantri Bebegig together in harmony. adult all field, In the entertainment. amusing very some producing freely, often dance and around move children, by worn also masks, small the of Some music. traditional to dance people the masks, scary large Wearing ancestors. people’s the of heroism fires anddeforestation. side the village [15]. village the side ( the ( of origin structure African of the wood a of masks; made is making mask for material raw primary the as trees old large need need the wood of the ment for making regu unique plant with fairly soft stems and fan-like leaves widely used as a hedgerow. make the masks requires a great deal of physical, as well as mental, effort and energy. The repel venomous snakes and reptiles and is considered to have supernatural properties. Albizia Chinensis Albizia The problem faced by the organizer of the of organizer the by faced problem The 4.6. the of stories the from originate that dramas dance features program carnival The The worry of the the of worry The The The wood cannot be replaced with other types of wood, because it is a special require waregu masks and accessories are scarce, the main causes being drought, forest drought, being causes main the scarce, are accessories and masks waregu Development andproblemsfacingtheBebegigSukamantri tree grows in the interior of the cold foggy forest, so to obtain its wood to wood itsobtain to soforest, foggycold the interiorof the in growstree tree ( tree Bebegig ) and several other types of wood available in the forest area out area forest the in available wood of types other several and ) fight to defend the territory captured by other adults. The fight is fight The adults. byother captured territory the to defend fight Bebegig waregu Rhapis Flabelliformis I’Herit Flabelliformis Rhapis masks. The people who make the Figure 11. BebegigSukamantri mask. tree because it tree to because is be believed a wood that can sacred mask crafters at the moment is the decreasing stock of of stock decreasing the is moment the at crafters mask Maesopsis eminii Engl eminii Maesopsis Bebegig Sukamantri Bebegig ) is a type of Palma tree and is a is and tree Palma of type a is ) Bebegig Sukamantri .), Albasiah wood wood Albasiah .), mask carnival is carnival mask mask Wa- - - players canattimesleadtomisunderstandingsbetweentheperformers. are regulatedthroughthemusic. tional Sundanese music around them. The motion and direction of the Bebegig players Sukamantri 12). (Figure open wide is mouth the when or teeth the between opening the to limited is hood the in opening mouth the through fangs. view and The teeth of rows masks’ the by blocked are eyes their because visibility minimal have addition, players In mantri directions. different in mask the moving when body the often results in pain and fatigue due to the excessive pressure put on the upper part of placed ontheshouldersofdancers.Bearingweight the mask, this structure construction wooden a is which mask the of structure supporting the is players mantri mask the prevent and use wearers fromharmingtemselves.Butothersolutionsneedtobefound. to comfortable more be would which fur, synthetic able tives found. In part, this could be in the form of using softer natural materials or sustain- but the use of the original the of use the but to this particular problem. The authenticity of the use of forest materials is indeed good, found be to needs therefore skin. solution the A damage can sharp, are which fibers, palm coconut of use the because is This themselves. injuring risk even and hausted ex- physically are dancers mask the event the of end the at hours, 5 lasting carnival average the 11).With (Figure mask large a for kg 50-60 and mask, medium-sized a the is community for kg 30-40 mask, small a the for kg 20 than more weighing masks the of size enormous by faced problem Another forest. the around grow that wood light of types other and pinewood pulp, wood as such materials other use to try also Some maskcraftsmen thescarcityofrawmaterials. stepinovercoming a preparatory Several craftsmen, today,craftsmen, Several cultivate The limited vision coupled with the absence of communication media between the between media communication of absence the with coupled vision limited The the of performance the with interferes that issue essential Another players can only follow dance movements based on the sound of tradi- of sound the on based movements dance follow only can players Figure 12.Ergonomicproblemsin Bebegigmasks. Bebegig Sukamantri Bebegig waregu trees in the land around the village, as village, the around land the in trees gear should be rethought and alterna and rethought be should gear eei Suka- Bebegig Bebegig Suka- Bebegig Bebegig - 193

Conservation science in Cultural Heritage 194 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia [3] [2] [1] speakers fromBebegigBaladewa the to preciation Grant (PUSI). The Research Excellence a Strategic their ap express project: Authors risk tothedancers. with being standard procedures adopted so the carnival runs smoothly and there is no ing and coordinating the mask-wearers’ movements according to the color of the mask them. And lastly, a communication system between players would be useful in regulat visibility and will be easier and more comfortable for the dancers needed to redesign to the mask frame moveand use lighter materials, andso that it provides manipulatebetter bear.to dancer the for experience painful very a evidently Effortsis This therefore are 5 hours. for shoulders dancer’s the on carried be to has and kg 60-80 to up reaches the of weight heavy and vision limited the is problem Another mask. the of color the and behavior dance between match a for need the emphasize Rakshasa namely people, Sundanese ancient the by respected creatures astral Sundanese the of concept the to relate which groups three are there that known is it masks, the ing adorn ing and attributes on a kind Based character. of the behavior different physical represent colour each green, and red, black, predominantly are masks the for used colours The character. distinct own it has mask each that so design prior any without sal carnivalart. unauthorized people who wish to cross the borders. Today, itto repel hasdisease and enemies, developedit is also often intoused as aan attribute colos- of patrols to scare off is dances in worn is mask the reasons the of one Since areas. forest in art totem into ease. At first,un and thefear masksof werefeelings madeevokes who as a symbolBatarakala of of remembrancecharacter scary the which with then sociated developed as is face the and large, very is mask This environment. forest surrounding the from come masks the make to used materials natural unique. The quite is which Indonesia try to overcome this problem, each each problem, this overcome to try mismatched. mask’soften the are Toof character color the and behavior dancer’s the

5. Topeng Bebegig Sukamantri TopengBebegig References The study was funded by the Institut Teknologi Nasional - Bandung in 2019, through Acknowledgments However, problems exist, as seen in the The tional JournalofIndonesianSociety andCulture,11(1), 149-157. at modification Asmorobangun Art Center, Pakisaji,Malang. Interna Komunitas: of Com Art Process The Wayang: Mask P.A. Wibowo, Malangese The (2019). Sumaryono. (2011). Cerita Panji, Antara Mitos dan Sejarah. Mudra, 26(1), 17-24. Jenderal KebudayaanKementerian PendidikandanKebudayaanRI. donesia Tahun 2018. : Direktorat Warisan & Diplomasi Budaya Direktorat Dharmawan,Palusen,D.,& (2018).d. Penetapan Warisan Budaya Takbenda In- Conclusion mask is made of special wood which is carved manually carved is which wood special of made is mask Sukamantri Bebegig , DetyaandDenawa mask crafters and dancers, and especially the especially and dancers, and crafters mask Sukamantri Bebegig . is a traditional carnival of the in in people Sundanese the of carnival traditional a is Art Studio. Bebegig Bebegig Sukamantri dance studio conducts an exercise to to exercise an conducts studio dance Bebegig carnival today, where mask, which which mask, ------[15] [14] [13] [12] [11] [10] [9] [8] [7] [6] [5] [4] Nasional (Itenas)Bandung,Indonesia. tage. She is also a lecturer in the Architecture and Design faculty at the Institutest is principally the exploration of Indonesian culture and the study of its diverse heri- Teknologi Indonesia. HisinterestisinresearchingIndonesia’s diverseculturalheritage. Faculty of Architecture and Design at the Institut Teknologi Nasional (Itenas) Bandung, West Java. in people Sundanese ancient the of ancestors the by left heritage cultural the of sion expres- an are and unique are carnival the in used masks The Indonesia. WestJava, mantri

Edi Setiadi Putra Biographical notes This article provides a glimpse into the story and meaning of the the of meaning and story the into glimpse a provides article This Summary Rosa Karnita, Ph.D., is a doctor in Visual Communication Design; her field of inter-

chens inmanagedborealforests.FungalEcology, 20,166-174. li wood-dependent for types wood dead and stand of importance relative The Svensson, M., Johansson, V., Dahlberg, A., Frisch, A., Thor, G., & Ranius, T. (2016). of Indonesia. Directorate General of Culture, Ministry of Education and Culture of the Republic Amanat Galunggung Danasasmita, S. (1987). Spradley, J.(2007).MetodeEtnografi(1sted.). Yogyakarta: Tiara Wacana. nursing forum(Vol. 41,No.5).,545-547. Carter, N. B.-L. (2014). The use of triangulation in qualitative research. Oncology Nazir, M.(2009). MetodePenelitian.Bogor:GaliaIndonesia. Rosida Karya. (2007).MetodePenelitianKualitatif.Bandung: Moleong, J. ative and Arts Studies,1(1),31-43. of Cre Journal (A of Opposition International Binary Case The Study). Principle Denissa, L.asaReactionofVisual(2014). JemberFashionCarnaval Cultureto Festival Research.Mediálnístudia/MediaStudies.2/2017,197-207. Jansa, P. (2017). Culture, Society and Cultural Festivals: Studies’ of Perspective (4), 225-231. VolStudies, Social of & teries Humanities 4 of Journal Assam. International The tural Representation of Masks: With Special Reference to the Vaisnavite Monas- Nilanjana, G. (2016). An Aesthetical Study on the Unique Form, Utility, and Struc- Arts, 12(1),1-15 Roy, D. (2016). Masks in Pedagogical Practice. Journal of Learning Through The 7. InternationalJournalofSociologyand Anthropology, 214-218. Roy, D. (2015). Masks and cultural contexts, drama education and Anthropology, 17(2), 135-157. periences of diverse participants. International Journal of Multicultural Education, Rule, A. C. (2015). African mask-making workshop: professional development ex- Mask which is used in the art of a sustainable and fast-growing folk carnival in carnival folk fast-growing and of in art a the is used sustainable which Mask has a master’s in Industrial Product Design; he is a lecturer at the . Bandung: Sundanese Cultural Research and Study Project. Sewaka Dharma, Sanghyang Siksa Kanda ing Karesian, Bebegig Suka Bebegig - - - 195

Conservation science in Cultural Heritage 196 E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia culturale siaalivellonazionalecheinternazionale. carnevalesca come È, manifestazione future. molto apprezzato le inoltre, generazioni turale è sundanese un utile obiettivo a causa della sua unicità e del suo per significato Sanghyang SiksaKandaingKaresian(unindizioperReshi). intitolato secolo XV del manoscritto nell’antico trova si astrali esseri questi di stenza L’esi il per clero. e Denawa comune la per gente Detya la per nobiltà, Rakshasa dire a vale Sundanese, popolo l’antico proteggevano che astrali creature di dell’esistenza mitologia alla riferiscano si ritiene si che gruppi, tre sono ci maschere, delle e colori ra molto nota nella cultura indù e rappresenta il dio della rabbia. In base alle varie forme danese aGiavaoccidentale. sun popolo dell’antico antenati dagli lasciato culturale patrimonio del un’espressione e sono uniche sono carnevale nel utilizzate maschere Le Indonesia. in occidentale, a Giava crescita e in rapida sostenibile popolare carnevale nel utilizzata viene che tri tional andinternationallevel. generations.Itis,moreover, greatly appreciated culturalasa carnival event atboth na- future for significance its and uniqueness its of because goal worthwhile a is heritage to Reshi). 15th-century ancient manuscript entitled people and ancient Sundanese people, namely namely people, Sundanese ancient protected that creatures astral of existence the of mythology the to relate to believed Based on the various shapes and colors of the masks, there are three groups, which kala are Tutelare la maschera di Bebegig Sukamantri come parte dell’antico patrimonio cul- Ogni maschera, in vari colori e forme, deriva dal volto di Batarakala, che è una figu- Questo articolo riguarda la storia e il significato della maschera Bebegig Sukaman the Preserving Each mask creation, in various colors and shapes, derives from the face of , , who is a very well-known figurein Hindu culture and representsthe god of anger. Riassunto Denawa for the clergy. The existence of these astral beings is found in the Bebegig Sukamantri Bebegig Rakshasa mask as part of ancient Sundanese cultural cultural Sundanese ancient of part as mask Sanghyang Siksa Kanda ing Karesian for the nobility, nobility, the for Detya for the common common the for Batara- (a clue - - -