| Summary: | The main aim of this research is to know the topeng (mask)
dance inheritance methods at Sanggar Mulya Bhakti in
Indramayu, with Wangi Indriya as the dalang topeng (mask dance
master). Firstly, this research tries to compare between the
inheritance methods that was done by Wangi Indriya when she
learned topeng dance in the past and what she used to teach at
Sanggar Mulya Bhakti in the present day. Secondly, also tries to
write the biography of Wangi Indriya as dalang topeng and topeng
dance conservator in Indramayu. Finally, this research wants to
explore the history background of topeng dance in Indramayu, and
explains many kinds of topeng dance and its performance aspects.
Topeng dance in Indramayu is a diaspora of topeng dance of
Cirebon, which is a development of topeng babakan, a mask dancedrama
which performed scene by scene. The topeng babakan
performance is a development form of wayang wong or topeng
dalang, a dance-drama that perform Ramayana, Mahabharata,
Panji, Damarwulan, and other plays.
Wangi Indriya is a dalang topeng figure who has modern
vision. She is not only a dalang topeng, but a dalang wayang kulit
purwa (shadow puppets master), sinden (traditional singer),
traditional drama actress, and a contemporary theatre actress as
well. Sanggar Mulya Bhakti which established by Taham, Wangi�s
father, now holding topeng dance training for about 200 students,
and teach five kinds of topeng dance, such as Panji, Pamindo,
Rumyang, Tumenggung, and Klana. The topeng dance inheritance
process in Sanggar Mulya Bhakti held by combining both
traditional and modern methods.
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