Traditional Balinese Masks

“Topeng” means masks made of wood, paper, cloth and other materials with different shapes. There are masks shaped the face of God, humans, animals, demons and other. In Bali, mask is also a form of dance drama that all the dancers wore masks with a story that originates in the historical story better known as Babad.

In bringing the roles played, the dancers wear Bungkulan’s mask(which cover the entire face of the dancer), Sibakan’s mask (which cover only a portion of the face from forehead to upper jaw or the forehead and nose). All the characters who wear Bungkulan’s mask don’t need direct dialogue, but all the characters who wear Sibakan’s mask use Kawi and Balinese language dialogue.

The main figures contained in the dance dramamask consist of Pangelembar (hard mask “Topeng Keras” and the mask old “Topeng Tua”), Panasar (Kelihan means the older, and Cenikan means the younger), the King (Dalem and Patih) and Bondres (peoples). The types of dance drama masks are available are: Pajegan’s mask is danced by an actor who plays all the tasks contained in the play that was delivered. In the Pajegan’s mask, there is the mask dance that absolutely must be there, that’s Sidakarya’s mask. Because the Pajegan’s mask have a close relationship with the religious ceremony, then even this mask called “Topeng wali”, the mask guardian. The dance drama mask until today is existing in the almost of throughout Bali.

Panca’s mask who played by four or five dancers to play the different tasks accordance with the demands of the play.

Prembon mask featuring a mixture of figures taken from Panca mask dance drama and some of Arja dance drama and Prembon mask, performing arts that are still relatively new mask who prefer the appearance of the characters funny and to present the fresh humors.

Arja name probably derived from the word Reja (Sanskrit) which means beauty. Arja is kind of typical Balinese opera, it is a dance drama that the dialogue is sung in Macepat. Arja dance drama is one art that is very popular among the public. Arja expected to emerge in the 1820, in the reign of Klungkung, I Dewa Agung Sakti. Three important phrases in the development of Arja are:

-          Inclined of Arja Doyong (Arja without the accompaniment of Gamelan, played by one person)

-          Arja Gaguntangan (who use the gamelan Geguntangan by more than one person)

-          Arja Gede ( brought by between 10 to 15 dancers to show structure as the existing standard)

Gamelan is usually used to accompany Arja called Geguntangan who has a soft and sweet speak so it can add the beauty of song whom sung by the dancers. The main source of Arja is the story of Panji (Malat), then born a number of stories like Bandasura, Pakang Raras, Linggar Petak, I Godogan, Copta Kelangen, Made Umbara, Cilinaya and Dempu Awang known widely by the community.

Arja also displays the plays of such Jayaprana, Sampik Ingtai, Basur and Cupak Gerantang folklore, as well as some of the plays adaptation of Mahabrata and Ramayan Story. Any act performed, Arja always show the main characters that includes Inya, Galuh, Desak (Desak Rai), Limbur, Liku, Penasar, Mantri Manis, Mantri Buduh and two pairs of brothers clown – servant (Punta and Kartala). Almost all areas in Bali still have an active Arja group.

In the late of XX century, was born Arja Muani, all male players, and some players portraying the women characters. Arja was greeted with great enthusiasm by the public because it brings fresh comedy. (made)