Topeng: The Masked Dance

Topeng is best described as a blend of music, dance, and miming. Its purpose is to create a link between ritual and entertainment; the ridiculous and the sublime. Topeng performances typically take place during 3-11 day temple festivals, which are held in every Balinese village, and offerings are made to the temple gods prior to the start of every Topeng (Jenkins 40). The gamelan orchestra acts as a frame, announcing the beginning of the Topeng performance. The performers sing and dance while wearing masks. In Bali, masks act as a medium through which village society links itself to its ancestors and gods (Jenkins 43). They also link Topeng to two of the most important symbols in Balinese religion--Barong, the good (below; left), and Rangda, the evil (below; right). The masks are usually carved wood, vibrantly painted, and covered in incredible detail. Each mask represents a different character, and performers frequently shift roles and masks throughout the Topeng.

A unique aspect of Topeng is that it's always improvised. The performers respond to changes in the gamelan music as well as to the moods of the audience (Jenkins 41). Individual talent is de-emphasized; instead, receptiveness to the audience considered a dancer's real talent (Jenkins 45). In many ways, this is not unique to Topeng. Stand-up comedians and improv actors are some of examples of this concept in American culture. In any performance, there is a responsibility to an audience for a communicative display, and the participation of an audience is an extremely important part of the performance (Bauman 9). This is the main reason why Topeng performances are always improvised, although dancers do undergo rigorous training to prepare for them. Training includes voice, dance, acting, singing, and miming. Many dancers learn how to play all instruments in the gamelan orchestra in order to help them be sensitive to musical shifts (Jenkins 47). After achieving proficiency, a Topeng dancer will then focus on being a temple performer. The privilege to dance in the temple is considered a high honor, and allows dancers to contribute to their community.

Topeng dialogue can range from ancient Hindu texts to dirty jokes! Through Topeng, history is brought to life, and religious concepts are presented to an audience in a modern, present-day context. Satire is also a major part of Topeng, and satire is not limited to Balinese culture alone! Examples of this are the Japanese occupation during WWII, as well as the war for independence from the Netherlands (Jenkins 50). Topeng dances ridiculed the enemy, and fueled audiences with a sense of empowerment  and pride. Within Topeng, there are also clowns. These performers are typically the ones who have studied the religious texts most deeply, and are able to incorporate comedy and satire into showing differences between right and wrong, or good and bad ways to behave (Jenkins 47). Today, Topeng clowns and dancers portray the separation of traditional Balinese village life and the national government (Jenkins 50). 

Here's a quick look at a traditional Topeng masked dancer. 

Source: https://www.youtube.com/watch?v=HWUoZ6OvfCQ&t=235s

This video is a great example of the battle between Barong at 3:00, and Rangda at 12:23. 

The masks of these two figures typically look the same, with some variation depending on the artisan. 

You can also see other forms of Balinese dance within this Topeng.

Source: https://www.youtube.com/watch?v=t7CMss4oO2I&t=586s

Page Sources:

Jenkins, Ronald. 1978 "Topeng: Balinese Dance Drama." Performing Arts Journal 3 (2): 39-52

Bauman, Richard. 2004 A World of Others' Words: Cross-Cultural Perspectives on Intertextuality. Oxford: Blackwell.