Academic literature on the topic 'Topeng Sunda'

Penelitian ini mengungkap makna dan fungsi Bebegig Sukamantri, suatu karnaval rakyat yang berpotensi menjadi ikon budaya masyarakat Sunda di Kabupaten Ciamis, Jawa Barat. Bebegig Sukamantri dilestarikan oleh masyarakat desa setelah mengalami perubahan fungsi dan makna seiring perkembangan zaman. Studi tentang Bebegig Sukamantri masih jarang tetapi cukup sering ditampilkan dalam tulisan media sosial. Dalam memahami makna dan fungsi Bebegig Sukamantri, penelitian dilakukan dengan menggunakan metode kualitatif dalam bentuk teknik triangulasi yang merujuk pada penggunaan berbagai metode atau sumber data untuk mendapatkan pemahaman yang komprehensif tentang fenomena sosial budaya yang berkembang di masyarakat. Berbagai data primer diperoleh dari proses observasi, wawancara, dan partisipasi subjek. Sekitar 54 bentuk topeng diidentifikasi memiliki karakter unik dan berbeda serta dapat dikelompokkan ke dalam tiga kategori karakter Raksasa-Détya-Dénawa yang merupakan visualisasi dari jenis makhluk astral yang dikenal dalam budaya Sunda kuno. The study reveals the meaning and function of a Bebegig Sukamantri. Also known as a festival of traditional dance performance, it has a potential of becoming an outstanding Sundanese cultural icon in Ciamis Regency, West Java. After its function and meaning has changed over time, Bebegig Sukamantri is preserved by the the village community. The study on Bebegig Sukamantri has attracted few researchers. However, it appears frequently on social media. To understand the meaning and function of Bebegig Sukamantri, the qualitative methods with triangulation method data has been used. Triangulation refers to the use of multiple methods or data sources in qualitative research to develop a comprehensive understanding of social-cultural phenomenon. Various primary data collection methods involved the process of observation, interviews, and subject participation. Research identified 54 masks. Each consists of unique and different characters. The masks are subsequently categorized into three character, namely Raksasa – Détya – Dénawa. Those visualize the astral creatures known in ancient Sundanese culture.

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.

Dr. Loran B. Smith passed away in Topeka, Kansas, on July 24, 2009. He was born on July 23, 1946. He was the son of Gordon T and Edith A (Hibbard) Smith of Medford, Massachusetts. Loran received his bachelors degree at Salem State College (Massachusetts) in 1968, a masters from Oklahoma State in 1971, and then taught at Black Hills State (Spearfish, South Dakota) from 1971–1974 and Augustana College in Souix Falls from 1974–1977. He received his Ph.D. from the University of Nebraska-Lincoln in 1980 and taught at Missouri Southern State College in Joplin until 1982. He then came to Washburn University of Topeka, where he taught until his death. While “Doc” Smith (as the students referred to him) published sufficiently enough to be awarded tenure and promotion to professor, that was not his forte. Loran was a gifted teacher. His CV lists 23 teaching awards, including Washburn's Faculty Certificate of Merit, a university-wide teaching honor based on student elections, from 1985–1998. Loran was also extremely active in faculty governance and other service to the university and the Topeka community. He was on the university's faculty governing body from 1996–2006, serving as its vice president in 2002 and president from 2003–2005. He was the chairman of the Social Science Division almost all of the 1990s and he also served as the chairman of the college's curriculum committee during that same time span. As Washburn is an open-admission university, we have retention problems not experienced by most universities. Loran researched, organized, and ran a college experience program for at-risk students. He was very active in ASPA, serving as the Kansas chapter president from 1987–1988, indeed, his auto license plate read “KS ASPA” and was purchased for him by students he had recruited into ASPA. Loran's main area of academic interest was state and local government and he was the election night expert for one of the local TV stations here in the capital of Kansas from 1984–1992. What occupied most of his time and energy outside of his official academic duties was serving as the faculty advisor for a local chapter of the Sigma Phi Epsilon fraternity. Doc Smith took what was a typical college fraternity and turned it into a modern association of men that consistently had the highest average GPA of all the fraternities and sororities on campus. It was not unusual for Loran to pay for a student's tuition and fraternity house bill, buy students books, and lend money to a needy student. Loran had a reputation for frugality (his apartment had a TV but no cable, a rotary phone, and he rented all of his furniture and appliances). Loran's tightness with money turned out to be a big benefit for the fraternity. One chapter official put it this way, “Through his notorious tight-fisted watch over finances, the Chapter was able to wipe out a significant debt to the National Housing Corporation ahead of schedule and helped the chapter build a significant savings by 2000.” People who knew Loran thought that he was not married but Loran was married to his job. Not only was Loran in his office nearly every evening until 10:00 p.m., but he was there all day Saturday and Sunday too, and, more often than not, there was a student in that office talking with him.

“Sangku mencari Riang” menceritakan pertemuan antara mitos Sangkuriang dari Sunda dan Oidipus dari Yunani Kuno. Cerita ini dibuat sebagai kelanjutan dari cerita rakyat Sangkuriang dengan kisah tragedi Yunani Oidipus Raja karya Sophocles. Cerita yang diciptakan melalui pendekatan intertekstualitas dan interpretasi ini menawarkan makna baru. Cerita ini dibentuk berdasarkan konsep teater rakyat Sunda yang fleksibel dan dinamis dikombinasikan dengan elemen teater Yunani klasik yang melibatkan peran paduan suara dengan kata-kata puitis dalam dialog. Selain itu, penggunaan media dan topeng untuk menyempurnakan karakter menghasilkan estetika bagi penonton. Oleh karena itu, perpaduan konsep antara mitos Sunda dan tragedy Yunani ini memberikan perspektif baru dalam ruang kerja penciptaan seni teater. Hasil kolaborasi dua konsep akan terlihat dalam pertunjukan dengan kekuatan musik, tematik, estetika visual, dan dinamika oral. Dengan cara ini mampu menimbulkan daya tarik bagi para penonton.Kata kunci: cerita rakyat, intertext, mitos Sunda, teater Yunani.ABSTRACTSangku Looking For Riang Theatre: performances: Sangkuriang meetings and Oedipus in the fight against Destiny and Fate. “Sangku Mencari Riang” is a story which describes the meet of Sangkuriang from Sundanese and Oidipus from Ancient Greek. This story was created as a continuation story of folklore Sangkuriang of Sunda with the story of the Greek tragedy of Sophocles’s work, that is Oidipus the King. Through the intertext study, then, a new interpretation of the story was created, and finally the story of “Sangku Mencari Riang” was offered with its new meaning as well. This story will be perfomed to approach the concept of the folk theater of Sundanese which is regarded as flexible and dynamic, and has a dynamic structure. This concept will be combined with some elements found in the classical Greek theater, in which there is a choir role with poetic words in any dialogues on the performance. Moreover, the use of media which gives the impression of refinement masks of the characters and the ritualistic and aesthetic views for spectators are given to this concept as well. Therefore, these two concepts will provide a new perspective in the work space of theatrical arts creation. Then the result of the collaboration between the two concepts will be seen in the performance with musical powers, essential thematic, visual aesthetics, and oral dynamics, and afterward it will be supposed to give rise to any great attraction for the spectators.Key words: folklore, intertext, Sundanese myth, Greek Theater.