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Abstrak :
Saya mulai menyenangi dan kemudian tergila-gila oleh Topeng Cirebon sekitar akhir tahun 70-an. Sejak itu saya sering bolak-balik Bandung Cirebon ,Bandung -Indramayu hanya untuk menonton (di panggung hajatan dan upacara-upacara adat: unjungan,mapang sri ngarot dll), kemudian belajar nopeng (gaya slangit) dan menabuh gamelan. Oleh sebab itu saya mengenal banyak dalang topeng di Cirebon dan sekitarnya,tua ataupun muda......

Abstrak :
The first half of the twentieth century in Indonesia is often remembered as the Age of Motion. The term “motion” (pergerakan) is invariably used in history textbooks for students and in the official Indonesian historiography: Sejarah nasional Indonesia (Kartodirdjo, Poesponegoro, and Notosusanto 1975; Poesponegoro and Notosusanto 2008) and in the new edition, Indonesia dalam arus sejarah (Lapian and Abdullah 2012). Political movements in Indonesia always dominated the discourses of pergerakan at the expense of developments in other sectors, including culture. This cultural development, particularly in Java, was intricately intertwined with the upsurge in Javanese and then Indonesian nationalism, an expansion of modernity and Islamic revivalism. Topeng Panji with all of its forms around Java is symptomatic of this development. This paper is an initial investigation into the developments of topeng Panji across Java in the Age of Motion. By tracing the social and cultural histories from the perspective of the bureaucrats, artists, and government officials who wrote in books, journals, and other contemporary sources, this study aims to highlight topeng Panji and its development during that period.

Abstrak :
Skripsi ini membahas mengenai peran H.Bokir dalam mengangkat Topeng betawi sebagai salah satu kesenian Betawi serta identitas kota Jakarta. Topeng Betawi adalah salah satu kesenian tua yang ada di Jakarta. H.Bokir yang merupakan seniman Topeng Betawi serta anak seorang Seniman Topeng terkenal yaitu H.Jiun ingin menjaga agar topeng tetap terus lestari di Ibukota yang terus mengalami arus modernisasi. Topeng Betawi yang merupakan seni tradisi pada akhirnya mengalami penyesuaian hingga akhirnya menjadi seni pertunjukkan yang bermain di panggung teater berkat peran H.Bokir melalui sanggar Topeng Setia Warga. Skripsi ini menggunakan metode sejarah dengan mengumpulkan sumber-sumber seperti surat kabar sezaman, buku, serta wawancara dengan keluarga H.Bokir untuk mendukung penelitian.

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This paper thoroughly explain about H. Bokir`s role on raising Topeng Betawi as one of Betawi`s traditional art and Jakarta`s identity. Topeng Betawi is one of the oldest traditional art exist in Jakarta. H. Bokir, as one of Topeng Betawi artist which grow in mask artist family with H. Jiun, the famous mask artist, as his father want to take care the Topeng Betawi so it will stay sustainable in this modern era. Topeng Betawi is a traditional art which finally have an adjustment and become one of performing art and being shown in theater with the role of H. Bokir through Topeng Setia Warga. This paper is using historical method by collecting the sources such as newspapwe, book and also interviewing the family of H. Bokir to support the research.

Abstrak :
Tujuan dari penelitian ini adalah untuk menjelaskan peranan perempuan dibalik eksistensi topeng klasik dan topeng kreasi yang mendunia. Kajian ini adalah penelitian kualitatif deskriptif dengan pendekatan studi kasus yang dilakukan di desa wisata budaya Bobung, Gunung Kidul, Yogyakarta. Data bersumber dari informan, tempat & peristiwa, dan dokumen/arsip yang dikumpulkan dengan teknik wawancara mendalam, observasi partisipatif, dan analisis dokumen atau arsip. Keabsahan data diuji dengan teknik triangulasi sumber dan review informan. Analisis data digunakan teknik analisis interaktif dengan prosedur reduksi, display, dan verifikasi. Hasil penelitian menunjukan bahwaperempuan memiliki peranan besar dibalik eksistensi seni topeng klasik dan kreasi yang telah dikenal masyarakat dunia. Peranan ditunjukkan dari kiprah mereka dalam penciptaan topeng dan pertunjukan tari topeng. Peran perempuan lebih pada hal-hal sifatnya lembut dan rumit yang memerlukan tingkat kecermatan, kesabaran, ketelatenan, keuletan, dan rasa yang tinggi.

Abstrak :
Skripsi ini menjelaskan hubungan antara simbol dan ritual dalam kebudayaan Masyarakat Desa Pangkalan, Kabupaten Cirebon. Hal tersebut dapat tergambarkan dalam sebuah pertunjukan tari topeng Cirebon di upacara adat Mapag Sri yang masih dianggap sakral hingga saat ini. Padahal, saat ini masyarakat Desa Pangkalan merupakan masyarakat yang terbuka, dengan akses transportasi yang memudahkan mereka untuk berinteraksi dengan kehidupan kota dan lebih mengedepankan sifat-sifat rasional. Interaksi dengan kehidupan kota terjadi sebagai salah satu cara masyarakat Desa Pangkalan untuk memenuhi kebutuhan masyarakatnya yang semakin kompleks. Namun, di balik pemenuhan kebutuhan yang semakin kompleks, masyarakat Desa Pangkalan masih mempertahankan upacara adat Mapag Sri dengan pertunjukan tari topeng yang dianggap sakral dan penting sebagai bagian dari upacara adat Mapag Sri hingga saat ini. Oleh karena itu, pertunjukan tari topeng Cirebon dalam upacara adat Mapag Sri merupakan objek penelitian skripsi ini. Penelitian ini dilakukan dengan menggunakan konsep simbol dari Clifford Geertz, yaitu ikon. Ikon merupakan simbol suci yang mampu menyatakan, menyembunyikan, dan menghadirkan yang suci dalam kenyataan. Apalagi, jika ikon ini dihubungkan dengan mitologi, kosmologi, dan kepercayaan sehingga ikon memiliki sifat sakral. Dalam penelitian ini, ikon diletakkan dalam upacara dengan pertunjukan topeng, topeng, hingga dalang yang menarikan tari topeng Cirebon. Ketiganya merupakan satu kesatuan yang mampu merepresentasikan hubungan antara simbol, kebudayaan, dan pemenuhan kebutuhan masyarakat Desa Pangkalan akan kehadiran yang suci ke dalam kenyataan melalui pertunjukan tari topeng Cirebon dalam upacara adat Mapag Sri hingga saat ini. Adapun metode penelitian yang digunakan dalam penelitian ini adalah Metode Kualitatif-Interpretatif. Dengan menggunakan metode ini, peneliti bukan hanya memcari informasi, tetapi lebih kepada untuk memahami suatu objek penelitian berdasarkan makna dan nilai masyarakat yang besangkutan. Dalam hal ini, objek studi dalam metode ini adalah sistem nilai masyarakat yang bersangkutan atau, disebut Clifford Geertz, sebagai logico-meaningful. Dengan menempatkan pertunjukan, topeng, dalang, maupun upacara yang diletakkan ikon, penelitian ini dapat menjelaskan sistem nilai yang tetap diacu sebagai bagian dari kebudayaan masyarakat Desa Pangkalan hingga saat ini.

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This undergraduated thesis describes the relation between symbols, ritual and culture of Pangkalan village society in Cirebon regency. That relation can be seen in a Topeng dance (Mask dance in English ) performance on Mapag Sri tradition ceremony, which still as the sacred one until now. Although nowadays the society in Pangkalan village is open minded society, which seen in a transportation access to the city.. This access make them more to interact with the city life and trust to rational characteristics. The interaction to the city life is one of their ways of completing the needs from an emerging complex society. However, behind the needs of an increasingly complex, society of Pangkalan village still retain traditional ceremony Mapag Sri dance with masks. They belief that this ceremony considered sacred and important part of traditional ceremonies until this day. Therefore, the Cirebon mask dance performance in traditional ceremonies Mapag Sri is the object of research this essay. The Research was conducted with the use of symbols from Clifford Geertz, Ikon. It is a holy symbol that is capable to clarify, hide, and represent the sacred in to the reality. The Ikon is associated with the mythology, cosmology and the belief of Pangkalan village society, because of that, make ikon has a sacred nature. In this research, Ikon was placed in the mask ceremony, the face mask itself, and the Dalang (mastermind of ceremony) of the Cirebon mask dance. They are a unit that is capable of representing the relations between symbols, culture and community needs of the Pangkalan village to the presence of the holy into reality through the Cirebon mask dance performance in the traditional ceremony of Mapag Sri until now. The research method used in this research is the Qualitative Method-Interpretative, by using this method, researcher not only looking for information but more to understand the object of a research based on the meaning and value of pertinent community. In this case, the object of study in this method is the value system of society involved or what Clifford Geertz referred as the logico-meaningful. With the mask ceremony, the mask itself, the ?Dalang?, and the ritual where the icon is placed, then this research may explain the value system that still referred as part of the Pangkalan village society culture until to this day.

Abstrak :
The Puppeter Mask Klaten is a form of ancient folk arts which the existence cannot be separated £rom the history of the kingdoms in Central Java. Klaten is becoming a place for creative community who are able to create many artistic expressions and one of them called as Dalang Mask. Agrarian culture, communality, family and togethemess are becoming the value of life which represented through Dalang Mask Klaten. However, because of the era change, Dalang Mask Klaten is isolating by modem culture. Also the passed away of the Puppeter, the absence of regeneration process are often occured in the family becomes the reason why this art is difficult to be preserved. This study uses a performance studies approach based on analysis system of performance studies to observe the layen of this arts including the story background, movement, actors, fashion, accompaniment, mask property and contextualization which apply to fmd out the purpose and the idea behind it.. The results showed Puppeter Mask Klaten is not just an object of artistic expression, but also a livehood and communal bonding power. This idea is essential to define Puppeter Mask Klaten in the context of artistic expression as an ideology, something that can be represent the pride of their owners. Art becomes a means of education for the community, both as history review, reflection and also as the provision of visionary towards its future.