Relevant bibliographies by topics / Topeng (Dance)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Topeng (Dance)'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Topeng (Dance)"

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., Lasmiyati. "RASINAH: MAESTRO TARI TOPENG INDRAMAYU." Patanjala : Jurnal Penelitian Sejarah dan Budaya 5, no. 3 (September 3, 2013): 475. http://dx.doi.org/10.30959/patanjala.v5i3.110.

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AbstrakRasinah adalah maestro yang peduli pada kesenian tradisional Topeng Indramayu. Ia lahir dari keluarga seniman, ayahnya seorang dalang wayang kulit dan ibunya seniman ronggeng. Ia penari topeng yang handal. Kiprahnya di dunia topeng dikenal ke mancanegara. Penelitian ini dilakukan untuk mengetahui siapakah Rasinah dan bagaimana kiprahnya sebagai penari topeng di Indramayu. Metode yang digunakan adalah metode sejarah yang meliputi heuristik, kritik, interpretasi, dan historiografi. Dari hasil penelitian yang dilakukan, diperoleh informasi bahwa Rasinah lahir di Pamayahan Lohbener Indramayu tanggal 5 Januari 1929. Ia dalang topeng turunan dari neneknya. Ayahnya merupakan dalang wayang kulit dan dalang topeng, ibunya seniman ronggeng. Ia belajar menari topeng sejak usia tiga tahun. Tahun 1960-an Rasinah mengalami masa kejayaan, namun tahun 1970-an, ia mengalami masa surut seiring penggemar tari topeng beralih ke jenis kesenian organ tunggal dan tarling. Tahun 1994 ia bertemu Endo Suanda, kiprahnya sebagai penari topeng kembali bangkit. Ia dipromosikan tampil di beberapa negara. Sabtu 15 Maret 2008 Rasinah mewariskan Topengnya kepada cucunya, Aerli Rasinah. Tanggal 7 Agustus 2010 Rasinah meninggal dunia. Ia mendapat penghargaan sebagai penari dan pelestari Topeng Indramayu, di antaranya Lifetime Achievement dalam Festival Topeng Nusantara 2010. AbstractRasinah was a maestro who has great concern about Indramayu traditional arts of Tari Topeng or the Mask Dance. She was born into an artist family. Her father was a puppets shadow play master and her mother was a Ronggeng dancer. She is a brilliant Topeng dancer. Her role in Tari Topeng known in foreign countries. This research was conducted to find out who Rasinah is, and what her role in the development of Topeng dance of Indramayu. This research used historical method, which consist of four phases: heuristics, critics, interpretation, and historiography. Rasinah was born in Pamayahan Lohbener Indramayu, January 5, 1929. Her mastery of Topeng dance she inherited from her grandmother. Rasinah has learned dance since 3 years old. The 1960s witnessed the heyday of her performance. However, one decade later her reception declined. People more interested in Tarling and organ tunggal instead of Topeng dance. After Rasinah met Endo Suanda in 1994, her role in Topeng dance started again. She promoted by Endo Suanda to perform in the couple of countries. Rasinah officially bequeath her role in Topeng dance to her granddaughter, Aerli Rasinah on March 15, 2008. On August 7, 2008, Rasinah passed away. She received an award as a dancer and conservationist of Topeng Indramayu in Topeng Festival Nusantara 2010.
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Sari, Putri Yunita Permata Kumala. "Etnokoreologi Tari Topeng Banjar pada Upacara Manuping Desa Banyiur Luar Banjarmasin." Pelataran Seni 4, no. 1 (August 18, 2020): 1. http://dx.doi.org/10.20527/jps.v4i1.5608.

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IntisariArtikel ini merupakan kajian etnokoreologi tari topeng Banjar dalam upacara manuping di Desa Banyiur Luar, Kota Banjarmasin. Pen-dekatan kualitatif-deskriptif dipilih dalam penelitian ini. Pengumpulan data menggunakan teknik triangulasi (observasi, wawancara, dokumentasi). Analisis data dilakukan dengan model Miles dan Huberman. Data bentuk topeng dianalisis dengan pende-katan ikonografi model Alessandra Iyer, fisiognomi, dan semiotika. Hasil kajian ini menemukan dalam upacara manuping di Desa Banyiur Luar terdapat sembilan ragam tarian atau karakter topeng. Tari topeng ini merupakan salah satu jenis tari klasik Banjar di Kalimantan Selatan yang memiliki keunikan. Dari aspek gerak, tari topeng ini bersifat spontan dengan memiliki unsur gerak tari japin, serta memiliki dua bentuk gerak yaitu pola tanda plus (+) dan pola lingkaran. Pada umumnya, iringan musik tari topeng pada upacara manuping ini menggunakan perangkat gamelan Banjar.Kata kunci: topeng banjar, tari banjar, manuping, etnokoreologi AbstractThis article is an ethnocoreological study of Banjar mask dance in a manuping ceremony at Banyiur Luar Village, Banjarmasin City. A qualitative-descriptive approach was chosen in this study. Data collec-tion using triangulation techniques (observation, interviews, document-tation). Data analysis was performed using the Miles and Huberman model. Mask shape data were analyzed by using Alessandra Iyer's iconographic approach, physiognomy, and semiotics. The results of this study found that in the manuping ceremony in Banyiur Luar Village, there were nine types of dances or mask characters. This mask dance is one of the classic Banjar dances in South Kalimantan which is unique. From the aspect of dance moves, this mask dance is spontaneous by having elements of japin dance movements, and has two forms of motion, namely the plus sign (+) pattern and the circle pattern. In general, the mask dance music accompaniment at this manuping ceremony uses the Banjar gamelan instrument.Keywords: banjar mask, banjar dance, manuping, ethnocoreology
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Setyo Pambudi, Kukuh. "The Character Education in Topeng Malangan Dance Tradition According Transpersonal Psychology Perspective." Ilomata International Journal of Social Science 1, no. 3 (July 31, 2020): 118–23. http://dx.doi.org/10.52728/ijss.v1i3.103.

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The aim of this research is to uncover the presence of character building in Topeng Malangan dance tradition according to Transpersonal Psychology perspective. This tradition is one of the art cultural heritage that exclusively from Malang and has some rituals as Silem (meditation) and Suguh. There is something unknown beyond human personality which is connected with spirituality so it is correlated with human’s character building. Topeng Malangan dance tradition and all of the rituals inside have contribution and correlation with the character building in the dancer. This research is using qualitative research method with ethnography. It founds that sub-personality and some objects in transpersonal psychology has significant result in building character education at Malang mask dance.
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Mariani, Putu, Gusti Nyoman Mastini, and I. Made Dian Saputra. "PEMENTASAN TARI TOPENG KERAS PADA PURNAMA KAENEM DI DESA PAKRAMAN MUNDUK PAKEL DESA GADUNG SARI KECAMATAN SELEMADEG TIMUR KABUPATEN TABANAN (Perspektif Nilai Pendidikan Agama Hindu)." Jurnal Penelitian Agama Hindu 2, no. 1 (May 28, 2018): 163. http://dx.doi.org/10.25078/jpah.v2i1.463.

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<p><em>Topeng Keras Dance Performance in Pakraman Village Munduk Pakel, Gadung Sari Village, East Selemadeg District, Tabanan Regency is one of the ceremonies of Dewa Yadnya. Topeng Keras Performance is held every four months full moon, which starts from full sasih kaenem to tilem kasanga. Because sasih is a hot sasih in the scale and niskala. With this stunning Topeng </em><em>Keras Dance can neutralize all evil forces.</em><em> Based on the above description, the issues to be lifted are: (1) How to Make a </em><em>Topeng Keras Dance Performance in Pakraman Village Munduk Pakel, Gadung Sari Village, East Selemadeg Sub-district, Tabanan District, (2) Is Function of </em><em>Topeng Keras Dance Performance in Village Pakraman Munduk Pakel, Gadung Sari Village, East Selemadeg Sub-district, Tabanan District, (3) The value of education of Hinduism is what is contained in Topeng Keras Dance Performance in Pakraman Village Munduk Pakel, Gadung Sari Village, East Selemadeg District, Tabanan Regency.</em><em> This research uses several theories to analyze the problems in the research, such as structural functionalism, and value theory. Methods Data collection is non-participant observation, structured interview, literature and documentation. The collected data was analyzed by qualitative descriptive analysis method with reduction step, and conclusion drawing.</em></p><p><em>The results obtained are as follows: (1) The form of </em><em>Topeng Keras dance performances in Pakraman Munduk Pakel Village, which begins with several stages of the meeting stage and stage of making banten. Then proceed with the process of ritual matur piuning and mendak </em><em>Topeng, Mendak Ida Bhatara, then the process of staging </em><em>Topeng Keras Dance, and end with Nyineb ritual process. (2) The function of </em><em>Topeng Keras dance performance in Pakraman Munduk Pakel is to neutralize negative forces, religious function, cultural preservation function, and unifying function of society. (3) The values of Hindu Religious Education contained in Topeng Keras Dance Desa Pakraman Munduk Pakel namely Tri Hita Karana Education Value, Education Value of Sradha and Bhakti, Education Value of Tat Twam Asi, Value of Aesthetic Education, and Value of Social Education of Society. </em></p>
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Rahayu, Rini. "KARAWITAN TARI TOPENG SEKARTAJI TUNGGAL." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, no. 2 (March 26, 2019): 90–107. http://dx.doi.org/10.33153/keteg.v18i2.2399.

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AbstractTopeng Sekartaji Tunggal is dance which is inspired from the inner turmoil of the Dewi Sekartaji, a beloved daughter of protagonist Panji Asmarabangun commonly contained in narratives of Serat Panji. This research aims to know karawitan dance musical idea "Topeng Sekartaji Tunggal" corresponding to shape and work on choreography and describe the creative process when it embodies the idea of a musical idea into a tangible form gamelan musicians dance "Topeng Sekartaji Tunggal". This research uses the steps that consists of three stages, namely 1) Design the idea of Musicians: the Sekartaji mask dance with) the idea of the contents; b) work on the idea; and c) preparation of the implementation. 2) Topeng Sekartaji Tunggal dance Musicians composition process: a) Determine Material Repertoire; and b) process of the exercise. 3) Results of the work: a) results of Product; b) refinements to the Follow-up. The research results obtained are know karawitan idea design, process, and outcomes karawitan Topeng Sekartaji Tunggal dance. Keywords: design idea, kekaryaan, karawitan, Topeng Sekartaji Tunggal. AbstrakTopeng Sekartaji Tunggal merupakan tarian yang terinspirasi dari gejolak batin Dewi Sekartaji, seorang tokoh protagonis putri kekasih Panji Asmarabangun yang umum termuat dalam kisah-kisah “Serat Panji”. Penelitian ini bertujuan untuk Mengetahui ide gagasan musikal karawitan tari “Topeng Sekartaji Tunggal” yang sesuai dengan bentuk dan garap koreografi tariannya dan mendeskripsikan proses kreatif ketika mewujudkan ide gagasan musikal menjadi bentuk nyata gending karawitan tari “Topeng Sekartaji Tunggal”. Penelitian ini menggunakan langkah-langkah yang terdiri dari tiga tahap, yaitu 1) Rancang Gagasan Karawitan Tari Topeng Sekartaji Tunggal: a) Gagasan Isi; b) Gagasan Garap; dan c) Persiapan Penggarapan. 2) Proses Kekaryaan Karawitan Tari Topeng Sekartaji Tunggal: a) Menentukan Materi Gending; dan b) Proses Latihan. 3) Hasil Kekaryaan: a) Capaian Hasil Kekaryaan; b) Tindak Lanjut Penyempurnaan. Hasil penelitian yang diperoleh adalah mengetahui rancang gagasan karawitan, proses kekaryaan karawitan, dan hasil kekaryaan tari Topeng Sekartaji Tunggal. Kata kunci: rancang gagasan, kekaryaan, karawitan, Topeng Sekartaji Tunggal.
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Sintho Rukmi, Dinar Ayu, and Indriyanto. "The Analysis of Topeng Sinok Dance in Brebes Regency." Harmonia: Journal of Arts Research and Education 15, no. 1 (July 8, 2015): 25. http://dx.doi.org/10.15294/harmonia.v15i1.3693.

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<p>Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and Surakarta style. The dance is basically aiming at showing that women from the border areas of Central and West Java are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This paper purposes to uncover the meaning behind Topeng Sinok dance movement. This study implements qualitative method that uses qualitative descriptive approach. The data collection process was conducted by using observation, documentation, and interview techniques. Further, the data were analysed by using dance data analysis by following the steps of (1) identifying and describing components; (2) understanding; (3) interpreting; and (4) evaluating. The data were then validated by using triangulation.</p>
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Fajri, Bayu Ramadhani, Agariadne Dwinggo Samala, and Fadhli Ranuharja. "Perancangan Media Interaktif Gerak Tari Topeng Patih pada Wayang Topeng Malangan Menggunakan Sensor Kinect." INVOTEK: Jurnal Inovasi Vokasional dan Teknologi 20, no. 2 (June 1, 2020): 75–88. http://dx.doi.org/10.24036/invotek.v20i2.715.

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Tari Topeng Patih is a part of the traditional dance performance art “Wayang Topeng Malangan” with a religious background which grew up around people in Malang City, East Java. Presently, art gallery of Tari Topeng Malangan has been difficult to be found. In addition to the difficulty of finding this art gallery even in the regions of origin, the problems is also about the interest and enthusiastic public, especially teenagers in Malang to learn this dance is still very rare. As a result, this art is slowly deteriorated and increasingly falling by the presence of various modern performances. In regarded to learn Tari Topeng Patih, the conventional learning activities requiring a special place such as a dance studio that is generally located far away from downtown Malang. Thus to overcome this problem is requires an instructional media that can be used as an alternative solution to learn and obtain information about Tari Topeng Patih, one way may be able to use the simulation method by utilizing the technology and education. The results of the design is the interactive media learning and simulation for basic motion of Tari Topeng Patih by using Kinect media.
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Intani, Ria. "REGENERASI TOPENG RANDEGAN." Patanjala : Jurnal Penelitian Sejarah dan Budaya 8, no. 3 (May 5, 2017): 317. http://dx.doi.org/10.30959/patanjala.v8i3.12.

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Topeng Randegan is one of the types of art that developed in the village of Randegan, both West and East Randegan, Jatitujuh District, Majalengka Regency. Topeng Randegan in the village of East Randegan is "a continuation" of the topeng beber that develops the village of Beber, Ligung District, Majalengka regency. The research on this art is to know how the regeneration of the TopengRandegan. In case that there is only one maestro of Topeng Randegan in Randegan East Village and have entered the old age, so it is assumed that Topeng Randegan is endangered. This study uses qualitative method and the research findings are outlined descriptively. The results show that there is only one studio that develops Topeng Randegan. Thus,Topeng Randegan attempts to sustainability, and passes on to the younger generation through non-formal education (courses). But, it is unfortunate that the learners come only in short-term period. They learn dance Topeng Randegan not for a purpose or goal as a dance artist, caused by school work. Therefore, the learning process is instant, andthe result is only for performing.
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Yuli Rahayuni, Ida Ayu Made, I. Nengah Sumantra, and I. Made Wirahadi Kusuma. "PEMENTASAN TARI SANG HYANG LEGONG TOPENG SAKRAL DALAM PIODALAN DI PURA JOGAN AGUNG DESA KETEWEL, KECAMATAN SUKAWATI, KABUPATEN GIANYAR (PERSPEKTIF PENDIDIKAN AGAMA HINDU)." Jurnal Penelitian Agama Hindu 2, no. 1 (May 28, 2018): 73. http://dx.doi.org/10.25078/jpah.v2i1.451.

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<p><em>Every human being is aware of the invisible or invisible nature of the world that exists beyond its senses and beyond its boundaries. System of belief in a religion that there is a shadow of people will form the magical world in the villageKetewel who have long had a tradition to perform Dance Sang Hyang Legong Mask Sacral is not staged then all kinds of diseases will attack the people Ketewel.</em></p><p><em>Based on the background of the above problems then can be formulated the problem are: (1) How the history of Dance Sang Hyang Legong Mask Sacral in Piodalan Pura Jogan Agung Ketesi Village, District Sukawati, Gianyar Regency, (2) What is the function of Dance Sang Hyang Legong Topeng Sakral in Piodalan in Pura Jogan AgungDesaKetewel, Sukawati Sub-district, Gianyar Regency, (3) What are the values of education contained in Sang Hyang Legong Dance Sacred Mask Dance in Piodalan in Pura Jogan Agung Ketesi Village, Sukawati District, Gianyar Regency? Based on the formulation of the above problems, the research objectives are: (1) to know the history of Dance Sang Hyang Legong Topeng Sakral in Piodalan Pura Jogan AgungDesaKetewel, District Sukawati, Gianyar Regency, (2) to know the function of Dance Sang Hyang Legong Topeng Sacred in Piodalan in Pura Jogan AgungDesaKetewel, Sukawati District, Gianyar Regency, (3) to know the values of education contained in the Dance Sang Hyang Legong Mask Sacral in Piodalan Pura Jogan Agung Ketewel Village, Sukawati District, Gianyar Regency.The theories used to analyze the problem formulation are: Religious theory of Koentjaraningrat, the functional structural theory of Artadi, the theory of value of Good. The methods used to collect data are observation, interview, literature, and documentation.</em></p><p><em>The results of this study show that: (1) History of Dance Sang Hyang Legong Topeng Sacred Dance in Piodalan in Pura Jogan Agung Ketesi Village, District Sukawati, Gianyar Regency of Sang Hyang Legong Topeng Sakral originated from King Kediri get pawisik from Ida Sang Hyang Pasupati bersthana on Mount Semeru. Sang Hyang Legong Mask Sakral is performed only at the ceremony of both pujawali pretend and piodalan in Ketewel village houses. (2) The function of Dance Sang Hyang Legong Topeng Sacred Dance in Piodalan in Pura Jogan Agung Ketesi Village, Sukawati District, Gianyar Regency is the neutralizing of the universe, the means of bhakti to Ida Sang Hyang Widhi Wasa and the preservation of Balinese cultural arts. (3) The value of education which is contained in Dance Sang Hyang Legong Topeng Sacred Dance in Piodalan in Pura Jogan Agung Ketesi Village, District Sukawati, Gianyar Regency is the value of divinity, atmanastuti value, aesthetic value, yadnya value / ceremony.</em></p>
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Pasya, Sutan Alif Naufal, Agustina Ratri Probosini, and Gandung Djatmiko. "Nilai-Nilai Pendidikan Karakter pada Tari Topeng Getak di Rumah Seni Madhu Ro’om Pamekasan Madura." Indonesian Journal of Performing Arts Education 1, no. 2 (July 31, 2021): 33–41. http://dx.doi.org/10.24821/ijopaed.v1i2.5526.

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Karakter merupakan kepribadian yang khas pada diri seseorang yang terbentuk karena pengaruh lingkungan. Dalam gerak, iringan, dan kostum pada tari juga memiliki nilai-nilai pendidikan karakter. Penelitian ini bertujuan untuk mendeskripsikan nilai-nilai pendidikan karakter pada Tari Topeng Getak di Rumah Seni Madhu Ro’om Pamekasan Madura. Penelitian ini menggunakan metode penelitian kualitatif, dengan objek penelitian Tari Topeng Getak di Pamekasan, Madura dan nilai-nilai pendidikan yang terkandung di dalamnya. Pengumpulan data didapatkan dari observasi, wawancara dengan beberapa narasumber, studi pustaka, dan dokumentasi. Analisis data menggunakan analisis kualitatif yang disajikan dengan teks bersifat naratif. Hasil penelitian mendapatkan tujuh nilai pendidikan karakter pada Tari Topeng Getak di Rumah Seni Madhu Ro’om. Adapun beberapa nilai-nilai pendidikan karakter pada Tari Topeng Getak yaitu (1) religius, (2) disiplin, (3) tanggung jawab, (4) rasa ingin tahu, (5) cinta damai, (6) demokratis, dan (7) cinta tanah air. Penerapan nilai-nilai tersebut dapat membantu peserta didik sebagai motivasi dalam latihan dan selalu diterapkan dalam kehidupan sehari-hari. Character is a distinctive personality in a person who is formed due to environmental influences. In motion, accompaniment, and costumes in dance also have character education values. This study aims to describe the values of character education in the Topeng Getak Dance at the Madhu Ro'om Art House Pamekasan Madura. This research uses qualitative research methods, with the object of research being the Topeng Getak Dance in Pamekasan, Madura and the educational values contained in it. Data collection was obtained from observations, interviews with several sources, literature studies, and documentation. The data analysis using qualitative analysis and is presented with narrative text. The study results obtained seven values of character education in the Topeng Getak Dance at the Madhu Ro'om Art House. The values of character education in Topeng Getak Dance are (1) religious, (2) discipline, (3) responsibility, (4) curiosity, (5) peace-loving, (6) democratic, and (7) love the homeland. Applying these values can help students as motivation in training and are consistently applied in everyday life.
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Dissertations / Theses on the topic "Topeng (Dance)"

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Palermo, C. "Towards the embodiment of the mask Balinese topeng in contemporary practice." Thesis, 2007. https://eprints.utas.edu.au/21125/1/whole_PalermoCarmencita2007_thesis.pdf.

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This thesis explores the process of mask characterisation in Bali as expressed in performances and in the views of individuals. The polyphony of voices of performers, officials, cultural analysts and village audiences gives multifarious expression to a sense of cultural identity. This identity is in continuous flux, as topeng masked dance drama reflects the way in which Bali itself is changing in the contemporary world. Starting with an analysis of the performative principles of masked dance-drama practice, with each chapter I analyse a broader context of the relationship between these basic performative principles and daily life. The performers' voices interweave with written discourse on Balinese culture, depicted as in increasing need of protection. Balinese culture (and dance as one of its manifestations) has had to be protected by separating what is truly linked to Balinese tradition (mainly based on religion) from what is not. The separation, at discourse level, has created two domains; one sacred, fixed and exclusively Balinese, and one profane, flexible and able to be "contaminated" through interaction with the outside world. Balinese topeng moves between these domains. In its increased role within ceremonies it reinforces essential Balinese identity, also the subject of intense media discourse in the post-Bali bombing period. At the same time, as part of the entertainment domain, topeng becomes a medium for reinterpreting traditional concepts and affording performers new freedoms. Recently comedy and laughter, predominating in performances for entertainment and also intruding into the ceremonial domain, have been interpreted by some as empty escapism. Is this indeed how the laughter should be interpreted, or do its capacities to heal trauma and provide release from the pressures of chauvinist cultural discourse connect at a deeper level with contemporary Balinese social reality? Another contemporary development, posing questions for the future of topeng form, is the involvement of women. Women now participate in topeng both for entertainment and ceremonies, but so far have not taken on the most sacred mask. Will they do so in future? Can the basic principles of Balinese performance and cultural identity be extended to allow women to help create harmony with nature through unity with the mask?
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Books on the topic "Topeng (Dance)"

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Soepandi, Atik. Topeng gong. [Jakarta]: Dinas Kebudayaan DKI Jakarta, 1992.

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Pudjasworo, Bambang. The power of topeng: Katalog pameran : Museum Sonobudoyo Yogyakarta, 20-29 November 2015. Yogyakarta: Museum Sonobudoyo, 2015.

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Risyani. Menjadi Priangan: Transformasi budaya topeng klana Cirebon karya R. Nugraha Soediredja. Bandung, Jawa Barat, Indonesia: Sunan Ambu STSI Press Bandung, 2009.

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Indonesia, Masyarakat Musikologi, ed. Temu ilmiah II, Festival Topeng Tradisional Indonesia: Laporan. Surakarta: Sekretariat MMI, 1991.

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Indonesia) Seminar Tari Sipatmo (2014 Jakarta. Topeng & cokek: Telisik tari DKJ, tari Betawi : 8-9 Desember 2014. Jakarta: Dewan Kesenian Jakarta, 2014.

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Trance and transformation of the actor in Japanese Noh and Balinese masked dance-drama. Lewiston, N.Y: E. Mellen Press, 2004.

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Museo delle culture (Lugano, Switzerland), ed. L'arte e la danza balinesi nella collezione Wistari: Diario di una cosmopolita. Cinisello Balsamo, Milano: Silvana editoriale, 2015.

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Tari topeng Cirebon dan peranannya di masyarakat. [Bandung?]: STSI Press, 2001.

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Book chapters on the topic "Topeng (Dance)"

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Niebur, Louis. "Dancing with AIDS." In Menergy, 184–204. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197511077.003.0011.

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Within three years of its emergence in 1981, AIDS had the triple effect of wiping out the musicians, producers, and dancers from San Francisco, relocating the center of high-energy music production to the United Kingdom. But it took a while for the dance community to realize the significance of so many deaths, partly because the parties continued unabated and because Patrick Cowley left so many unfinished projects that would see the light of day over the course of 1982–1983. In fact, there was still much to celebrate in San Francisco’s dance music world during these transitional years. Sylvester, relocated to Megatone Records, released a string of high-energy hits. Likewise, Paul Parker’s album exceeded all expectations, confirming Megatone’s place as a world leader in dance music. Moby Dick Records also peaked in 1982, with Loverde scoring big, and established acts Lisa and Boys Town Gang topping the charts throughout the year.
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Conference papers on the topic "Topeng (Dance)"

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Hayati, Auliya Aenul. "Civic Education through a Traditional Dance Namely “Tari Topeng”." In Proceedings of the Annual Civic Education Conference (ACEC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/acec-18.2018.13.

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Rahayuningtyas, Wida, Retno Tri Wulandari, Andy Pramono, and Adzrool Idzwan Hj Ismail. "Self-Efficacy in Topeng Malang Dance Learning Using Modeling Technique." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.024.

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Wardani, Ratih Wulandari Pramudya, and Hadjar Pamadhi. "The Transformation of Topeng Panji of Cirebon Dance from Being Part of Traditional Ceremony into a Dance Performed for Entertainment." In 4th International Conference on Arts and Arts Education (ICAAE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210602.013.

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Nurbaiti and Nurbaiti Nurbaiti. "Educational Values of the Character in Variety of Movement in “Klana Topeng Condroradono Dance”." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.24.

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Yanuartuti, Setyo, Jajuk D. Sasanadjati, and Joko Winarko. "Sandur Mandura Performance as a Source Creation of Jombang Topeng Dance." In International Joint Conference on Arts and Humanities 2021 (IJCAH 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211223.020.

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Rahayu, Eko W., Warih Handayaningrum, Jajuk D. Sasanadjati, and Arief Sudrajat. "Offering Dance in the Performance of Topèng Dhâlâng Madura as a Creative Industry Commodity." In International Joint Conference on Arts and Humanities 2021 (IJCAH 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211223.027.

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You might also be interested in the extended bibliographies on the topic 'Topeng (Dance)' for particular source types:
Journal articles
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