Jump to content

Edit filter log

Details for log entry 24873954

06:21, 24 September 2019: 49.144.169.233 (talk) triggered filter 50, performing the action "edit" on Topeng dance. Actions taken: Warn; Filter description: Shouting (examine)

Changes made in edit

[[File:Topeng Bali.jpg|thumb|left|200px|Various [[Balinese art|Balinese]] ''topeng'' (dance masks) at [[Taman Mini Indonesia Indah]]]]
[[File:Topeng Bali.jpg|thumb|left|200px|Various [[Balinese art|Balinese]] ''topeng'' (dance masks) at [[Taman Mini Indonesia Indah]]]]


TOPENG IS A LEGENDARY MAN NAMED KIM YURAG
It is believed that the use of masks is related to the cult of the ancestors, which considered dancers the interpreters of the gods. ''Topeng'' performances open with a series of non-speaking masked characters which may not be related to the story to be performed. These traditional masks often include ''Topeng Manis'' (a refined hero), ''Topeng Kras'' (a martial, authoritarian character), and ''Topeng Tua'' (an old man who may joke and draw out the audience).

The story is narrated from a ''penasar'', a jawless half-mask that enables the actor to speak clearly. In group ''topeng'', there are usually two ''penasars'' providing two points of view. The performance alternates between speaking and non-speaking characters, and can include dance and fight sequences as well as special effects (sometimes provided by the [[gamelan]]). It is almost always wrapped up by a series of comic characters introducing their own views. The narrators and comic characters frequently break Western conventions of storytelling by including current events or local gossip to get a laugh.

In ''topeng'', there is a conscious attempt to include many, sometimes contradictory, aspects of the human experience: the sacred and the profane, beauty and ugliness, refinement and caricature.<ref>[http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 "The Secret of Masks"]. Bohème Magazine Online. June 2003. {{Webarchive|url=https://web.archive.org/web/20100924131251/http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 |date=2010-09-24 }}.</ref> A detailed description and analysis of ''topeng pajegan'', the one-man form of ''topeng'', is available in ''Masked Performance''<ref>https://www.amazon.com/dp/081221336X</ref> by [[John Emigh]], a Western theater professor who has become a performer of Balinese ''topeng''.
In ''topeng'', there is a conscious attempt to include many, sometimes contradictory, aspects of the human experience: the sacred and the profane, beauty and ugliness, refinement and caricature.<ref>[http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 "The Secret of Masks"]. Bohème Magazine Online. June 2003. {{Webarchive|url=https://web.archive.org/web/20100924131251/http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 |date=2010-09-24 }}.</ref> A detailed description and analysis of ''topeng pajegan'', the one-man form of ''topeng'', is available in ''Masked Performance''<ref>https://www.amazon.com/dp/081221336X</ref> by [[John Emigh]], a Western theater professor who has become a performer of Balinese ''topeng''.


Action parameters

VariableValue
Edit count of the user (user_editcount)
null
Name of the user account (user_name)
'49.144.169.233'
Age of the user account (user_age)
0
Groups (including implicit) the user is in (user_groups)
[ 0 => '*' ]
Rights that the user has (user_rights)
[ 0 => 'createaccount', 1 => 'read', 2 => 'edit', 3 => 'createtalk', 4 => 'writeapi', 5 => 'viewmywatchlist', 6 => 'editmywatchlist', 7 => 'viewmyprivateinfo', 8 => 'editmyprivateinfo', 9 => 'editmyoptions', 10 => 'abusefilter-log-detail', 11 => 'urlshortener-create-url', 12 => 'centralauth-merge', 13 => 'abusefilter-view', 14 => 'abusefilter-log', 15 => 'vipsscaler-test' ]
Whether the user is editing from mobile app (user_app)
false
Whether or not a user is editing through the mobile interface (user_mobile)
false
Page ID (page_id)
2160163
Page namespace (page_namespace)
0
Page title without namespace (page_title)
'Topeng dance'
Full page title (page_prefixedtitle)
'Topeng dance'
Last ten users to contribute to the page (page_recent_contributors)
[ 0 => 'AtticusX', 1 => '103.197.212.221', 2 => 'Humboldt', 3 => 'InternetArchiveBot', 4 => 'Classicwiki', 5 => '118.210.124.104', 6 => 'Zingarese', 7 => 'ClueBot NG', 8 => 'Donner60', 9 => 'HMSLavender' ]
Action (action)
'edit'
Edit summary/reason (summary)
'/* Balinese topeng */ '
Old content model (old_content_model)
'wikitext'
New content model (new_content_model)
'wikitext'
Old page wikitext, before the edit (old_wikitext)
'{{Dance drama of Southeast Asia |image = [[File:Bali-Danse 0710a.jpg|200px]] |caption = Balinese ''topeng'' dance drama performance }} '''''Topeng''''' ([[Indonesian language|Indonesian]] for "mask") is a dramatic form of [[Indonesian dance]] in which one or more [[mask]]-wearing, ornately costumed performers interpret traditional narratives concerning fabled kings, heroes and myths, accompanied by [[gamelan]] music. ==History== Indonesian masked dance predates Hindu-Buddhist influences. [[Native Indonesian]] tribes still perform traditional masked-dances to represent nature, as the [[Hudoq]] dance of the [[Dayak people]] of [[Kalimantan]], or to represent [[Ancestor worship|ancestor spirits]]. With the arrival of [[Hinduism in Indonesia|Hinduism in the archipelago]], the ''[[Ramayana]]'' and ''[[Mahabharata]]'' epics began to be performed in masked-dance. The most popular storyline of ''topeng'' dance, however, derived from the locally developed Javanese [[Panji (prince)|Panji cycles]], based on the tales and romance of [[Panji (prince)|Prince Panji]] and [[Panji (prince)#Chandra Kirana|Princess Chandra Kirana]], set in the 12th-century [[Kediri (historical kingdom)|Kadiri kingdom]]. One of the earliest written records of ''topeng'' dance is found in the 14th-century poem ''[[Nagarakretagama]]'', which describes King [[Hayam Wuruk]] of [[Majapahit]] — wearing a golden mask — as an accomplished ''topeng'' dancer.<ref>{{cite web | title=Sosok Rahwana dalam Tari Topeng Kelana| publisher=Indonesia Kaya| url=http://www.indonesiakaya.com/kanal/detail/sosok-rahwana-dalam-tari-topeng-kelana| language=Indonesian|accessdate=25 October 2014 }}</ref> The current ''topeng'' dance form arose in the 15th century in [[Java]] and [[Bali]] where it remains prevalent, but it is also found in other Indonesian islands — such as [[Madura]] (near East Java). Various ''topeng'' dances and styles have developed in various places in the Indonesian archipelago, notably in [[Cirebon]], [[Yogyakarta]], [[Malang]] and [[Bali]]. The well-developed ''topeng'' technique is now studied in universities in Europe and America. == Balinese topeng == [[File:Topeng Bali.jpg|thumb|left|200px|Various [[Balinese art|Balinese]] ''topeng'' (dance masks) at [[Taman Mini Indonesia Indah]]]] It is believed that the use of masks is related to the cult of the ancestors, which considered dancers the interpreters of the gods. ''Topeng'' performances open with a series of non-speaking masked characters which may not be related to the story to be performed. These traditional masks often include ''Topeng Manis'' (a refined hero), ''Topeng Kras'' (a martial, authoritarian character), and ''Topeng Tua'' (an old man who may joke and draw out the audience). The story is narrated from a ''penasar'', a jawless half-mask that enables the actor to speak clearly. In group ''topeng'', there are usually two ''penasars'' providing two points of view. The performance alternates between speaking and non-speaking characters, and can include dance and fight sequences as well as special effects (sometimes provided by the [[gamelan]]). It is almost always wrapped up by a series of comic characters introducing their own views. The narrators and comic characters frequently break Western conventions of storytelling by including current events or local gossip to get a laugh. In ''topeng'', there is a conscious attempt to include many, sometimes contradictory, aspects of the human experience: the sacred and the profane, beauty and ugliness, refinement and caricature.<ref>[http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 "The Secret of Masks"]. Bohème Magazine Online. June 2003. {{Webarchive|url=https://web.archive.org/web/20100924131251/http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 |date=2010-09-24 }}.</ref> A detailed description and analysis of ''topeng pajegan'', the one-man form of ''topeng'', is available in ''Masked Performance''<ref>https://www.amazon.com/dp/081221336X</ref> by [[John Emigh]], a Western theater professor who has become a performer of Balinese ''topeng''. == Cirebon topeng == [[File:Topeng Kandaga Saung Angklung Udjo.JPG|thumb|left|200px|''Topeng Kandaga'', a Sundanese form of ''topeng'' dance]] [[Cirebon mask dance]] or ''tari topeng Cirebon'' is a local indigenous art form of [[Cirebon]] in Java, including [[Indramayu]] and [[Jatibarang, Indramayu|Jatibarang]], [[West Java]] and [[Brebes]], [[Central Java]]. There is a lot of variety in Cirebon mask dance, both in terms of the dance style and the stories to be conveyed. The mask dance can be performed by solo dancers or it can be performed by several people. Graceful hand and body movements, and musical accompaniment dominated by drums and fiddle, are hallmarks of the art form. Cirebon mask dance might depict the story of [[Panji (prince)|Prince Panji]] from 15th-century East Java, or another [[Majapahit]] story. ''Topeng Klana Kencana Wungu'' is a Cirebon mask dance in the [[Parahyangan]] mask style that depicts the story of Queen Kencana Wungu of Majapahit being chased by the grotesque and rough King Minak Jingga of [[Blambangan]]. The [[Sundanese people|Sundanese]] ''topeng Kandaga'' dance is similar to and influenced by Cirebon ''topeng'', where the dancers wear red masks and costumes. == Topeng in Malang== In [[East Java]], ''topeng'' dance is called ''[[wayang gedog]]'' and is the best known art form from East Java's [[Malang Regency]]. ''Wayang gedog'' theatrical performances include themes from the [[Panji (prince)|Panji cycle]] stories from the kingdom of [[Janggala]], and the players wear masks known as ''wayang topeng'' or ''wayang gedog''. The word ''gedog'' comes from ''kedok'' which, like ''topeng'', means "mask". These performances center on a love story about [[Panji (prince)#Chandra Kirana|Princess Candra Kirana]] of [[Kediri (historical kingdom)|Kediri]] and [[Panji (prince)|Raden Panji]] Asmarabangun, the legendary crown prince of Janggala. Candra Kirana was the incarnation of [[Dewi Ratih]] (the Hindu goddess of love) and Panji was an incarnation of [[Kamajaya]] (the Hindu god of love). Kirana's story has been given the title ''[[Smaradahana]]'' ("The fire of love"). At the end of the complicated story they finally marry and bring forth a son named Raja Putra. == Jogja topeng == [[File:COLLECTIE TROPENMUSEUM Wajang topeng voorstelling TMnr 60008622.jpg|thumb|200px|right|''[[Wayang gedog]]'']] In [[Yogyakarta Sultanate|Yogyakarta]] tradition, the mask dance is part of ''[[wayang wong]]'' performances. Composed and created by Sultan [[Hamengkubuwono I]] (1755–1792), certain characters such as the ''wanara'' (monkey) and ''denawa'' (giant) in ''Ramayana'' and ''Mahabharata'' use masks, while the knight and princesses do not wear masks. The ''punakawan'' (jester) might use a half-mask (a mask without a jaw) so he can speak freely and clearly. Significantly here, the mustache is painted in black. The Topeng Klono Alus, Topeng Klono Gagah, and Topeng Putri Kenakawulan dances are classical Yogyakarta court dances derived from the story of [[Panji (prince)|Raden Panji]] from the 15th-century [[Majapahit]] legacy. The Klono Alus Jungkungmandeya and Klono Gagah Dasawasisa are masked dances adapted from ''[[Mahabharata]]'' stories. == Surakarta topeng == The ''topeng'' of the [[Surakarta Sunanate]] court is similar in style and theme to the Yogyakarta variants. Differences are seen in the craftmanship of masks; facial hair is represented with hair or fibre, while the Yogyakarta style uses black paint. Similarly to Yogyakarta, the Sukarta ''topeng punakawan'' (jester) often uses a jawless half-mask. == Betawi topeng == Betawi mask dance or ''tari topeng Betawi'' is a mask-dance of the [[Betawi people]] of [[Jakarta]]. ==See also== * [[Tanggai dance]] == Notes == {{reflist}} ==External links== * [https://web.archive.org/web/20051219011059/http://www.nagamas.co.uk/0302_topeng.htm Information on ''topeng'' dances from the program notes of a performance in Glasgow in 2003] * [http://globetrotters-heaven.de/privatsammlung/s%C3%BCdostasien/indonesien/ Various examples of Indonesian ''topeng'' masks] {{Commonscat|Topeng dance}} [[Category:Dances of Indonesia]] [[Category:Dances of Bali]] [[Category:Masked dances]] [[Category:Masquerade ceremonies in Asia]]'
New page wikitext, after the edit (new_wikitext)
'{{Dance drama of Southeast Asia |image = [[File:Bali-Danse 0710a.jpg|200px]] |caption = Balinese ''topeng'' dance drama performance }} '''''Topeng''''' ([[Indonesian language|Indonesian]] for "mask") is a dramatic form of [[Indonesian dance]] in which one or more [[mask]]-wearing, ornately costumed performers interpret traditional narratives concerning fabled kings, heroes and myths, accompanied by [[gamelan]] music. ==History== Indonesian masked dance predates Hindu-Buddhist influences. [[Native Indonesian]] tribes still perform traditional masked-dances to represent nature, as the [[Hudoq]] dance of the [[Dayak people]] of [[Kalimantan]], or to represent [[Ancestor worship|ancestor spirits]]. With the arrival of [[Hinduism in Indonesia|Hinduism in the archipelago]], the ''[[Ramayana]]'' and ''[[Mahabharata]]'' epics began to be performed in masked-dance. The most popular storyline of ''topeng'' dance, however, derived from the locally developed Javanese [[Panji (prince)|Panji cycles]], based on the tales and romance of [[Panji (prince)|Prince Panji]] and [[Panji (prince)#Chandra Kirana|Princess Chandra Kirana]], set in the 12th-century [[Kediri (historical kingdom)|Kadiri kingdom]]. One of the earliest written records of ''topeng'' dance is found in the 14th-century poem ''[[Nagarakretagama]]'', which describes King [[Hayam Wuruk]] of [[Majapahit]] — wearing a golden mask — as an accomplished ''topeng'' dancer.<ref>{{cite web | title=Sosok Rahwana dalam Tari Topeng Kelana| publisher=Indonesia Kaya| url=http://www.indonesiakaya.com/kanal/detail/sosok-rahwana-dalam-tari-topeng-kelana| language=Indonesian|accessdate=25 October 2014 }}</ref> The current ''topeng'' dance form arose in the 15th century in [[Java]] and [[Bali]] where it remains prevalent, but it is also found in other Indonesian islands — such as [[Madura]] (near East Java). Various ''topeng'' dances and styles have developed in various places in the Indonesian archipelago, notably in [[Cirebon]], [[Yogyakarta]], [[Malang]] and [[Bali]]. The well-developed ''topeng'' technique is now studied in universities in Europe and America. == Balinese topeng == [[File:Topeng Bali.jpg|thumb|left|200px|Various [[Balinese art|Balinese]] ''topeng'' (dance masks) at [[Taman Mini Indonesia Indah]]]] TOPENG IS A LEGENDARY MAN NAMED KIM YURAG In ''topeng'', there is a conscious attempt to include many, sometimes contradictory, aspects of the human experience: the sacred and the profane, beauty and ugliness, refinement and caricature.<ref>[http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 "The Secret of Masks"]. Bohème Magazine Online. June 2003. {{Webarchive|url=https://web.archive.org/web/20100924131251/http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 |date=2010-09-24 }}.</ref> A detailed description and analysis of ''topeng pajegan'', the one-man form of ''topeng'', is available in ''Masked Performance''<ref>https://www.amazon.com/dp/081221336X</ref> by [[John Emigh]], a Western theater professor who has become a performer of Balinese ''topeng''. == Cirebon topeng == [[File:Topeng Kandaga Saung Angklung Udjo.JPG|thumb|left|200px|''Topeng Kandaga'', a Sundanese form of ''topeng'' dance]] [[Cirebon mask dance]] or ''tari topeng Cirebon'' is a local indigenous art form of [[Cirebon]] in Java, including [[Indramayu]] and [[Jatibarang, Indramayu|Jatibarang]], [[West Java]] and [[Brebes]], [[Central Java]]. There is a lot of variety in Cirebon mask dance, both in terms of the dance style and the stories to be conveyed. The mask dance can be performed by solo dancers or it can be performed by several people. Graceful hand and body movements, and musical accompaniment dominated by drums and fiddle, are hallmarks of the art form. Cirebon mask dance might depict the story of [[Panji (prince)|Prince Panji]] from 15th-century East Java, or another [[Majapahit]] story. ''Topeng Klana Kencana Wungu'' is a Cirebon mask dance in the [[Parahyangan]] mask style that depicts the story of Queen Kencana Wungu of Majapahit being chased by the grotesque and rough King Minak Jingga of [[Blambangan]]. The [[Sundanese people|Sundanese]] ''topeng Kandaga'' dance is similar to and influenced by Cirebon ''topeng'', where the dancers wear red masks and costumes. == Topeng in Malang== In [[East Java]], ''topeng'' dance is called ''[[wayang gedog]]'' and is the best known art form from East Java's [[Malang Regency]]. ''Wayang gedog'' theatrical performances include themes from the [[Panji (prince)|Panji cycle]] stories from the kingdom of [[Janggala]], and the players wear masks known as ''wayang topeng'' or ''wayang gedog''. The word ''gedog'' comes from ''kedok'' which, like ''topeng'', means "mask". These performances center on a love story about [[Panji (prince)#Chandra Kirana|Princess Candra Kirana]] of [[Kediri (historical kingdom)|Kediri]] and [[Panji (prince)|Raden Panji]] Asmarabangun, the legendary crown prince of Janggala. Candra Kirana was the incarnation of [[Dewi Ratih]] (the Hindu goddess of love) and Panji was an incarnation of [[Kamajaya]] (the Hindu god of love). Kirana's story has been given the title ''[[Smaradahana]]'' ("The fire of love"). At the end of the complicated story they finally marry and bring forth a son named Raja Putra. == Jogja topeng == [[File:COLLECTIE TROPENMUSEUM Wajang topeng voorstelling TMnr 60008622.jpg|thumb|200px|right|''[[Wayang gedog]]'']] In [[Yogyakarta Sultanate|Yogyakarta]] tradition, the mask dance is part of ''[[wayang wong]]'' performances. Composed and created by Sultan [[Hamengkubuwono I]] (1755–1792), certain characters such as the ''wanara'' (monkey) and ''denawa'' (giant) in ''Ramayana'' and ''Mahabharata'' use masks, while the knight and princesses do not wear masks. The ''punakawan'' (jester) might use a half-mask (a mask without a jaw) so he can speak freely and clearly. Significantly here, the mustache is painted in black. The Topeng Klono Alus, Topeng Klono Gagah, and Topeng Putri Kenakawulan dances are classical Yogyakarta court dances derived from the story of [[Panji (prince)|Raden Panji]] from the 15th-century [[Majapahit]] legacy. The Klono Alus Jungkungmandeya and Klono Gagah Dasawasisa are masked dances adapted from ''[[Mahabharata]]'' stories. == Surakarta topeng == The ''topeng'' of the [[Surakarta Sunanate]] court is similar in style and theme to the Yogyakarta variants. Differences are seen in the craftmanship of masks; facial hair is represented with hair or fibre, while the Yogyakarta style uses black paint. Similarly to Yogyakarta, the Sukarta ''topeng punakawan'' (jester) often uses a jawless half-mask. == Betawi topeng == Betawi mask dance or ''tari topeng Betawi'' is a mask-dance of the [[Betawi people]] of [[Jakarta]]. ==See also== * [[Tanggai dance]] == Notes == {{reflist}} ==External links== * [https://web.archive.org/web/20051219011059/http://www.nagamas.co.uk/0302_topeng.htm Information on ''topeng'' dances from the program notes of a performance in Glasgow in 2003] * [http://globetrotters-heaven.de/privatsammlung/s%C3%BCdostasien/indonesien/ Various examples of Indonesian ''topeng'' masks] {{Commonscat|Topeng dance}} [[Category:Dances of Indonesia]] [[Category:Dances of Bali]] [[Category:Masked dances]] [[Category:Masquerade ceremonies in Asia]]'
Unified diff of changes made by edit (edit_diff)
'@@ -14,8 +14,5 @@ [[File:Topeng Bali.jpg|thumb|left|200px|Various [[Balinese art|Balinese]] ''topeng'' (dance masks) at [[Taman Mini Indonesia Indah]]]] -It is believed that the use of masks is related to the cult of the ancestors, which considered dancers the interpreters of the gods. ''Topeng'' performances open with a series of non-speaking masked characters which may not be related to the story to be performed. These traditional masks often include ''Topeng Manis'' (a refined hero), ''Topeng Kras'' (a martial, authoritarian character), and ''Topeng Tua'' (an old man who may joke and draw out the audience). - -The story is narrated from a ''penasar'', a jawless half-mask that enables the actor to speak clearly. In group ''topeng'', there are usually two ''penasars'' providing two points of view. The performance alternates between speaking and non-speaking characters, and can include dance and fight sequences as well as special effects (sometimes provided by the [[gamelan]]). It is almost always wrapped up by a series of comic characters introducing their own views. The narrators and comic characters frequently break Western conventions of storytelling by including current events or local gossip to get a laugh. - +TOPENG IS A LEGENDARY MAN NAMED KIM YURAG In ''topeng'', there is a conscious attempt to include many, sometimes contradictory, aspects of the human experience: the sacred and the profane, beauty and ugliness, refinement and caricature.<ref>[http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 "The Secret of Masks"]. Bohème Magazine Online. June 2003. {{Webarchive|url=https://web.archive.org/web/20100924131251/http://www.boheme-magazine.net/php/modules.php?name=News&file=article&sid=28 |date=2010-09-24 }}.</ref> A detailed description and analysis of ''topeng pajegan'', the one-man form of ''topeng'', is available in ''Masked Performance''<ref>https://www.amazon.com/dp/081221336X</ref> by [[John Emigh]], a Western theater professor who has become a performer of Balinese ''topeng''. '
New page size (new_size)
7366
Old page size (old_size)
8402
Size change in edit (edit_delta)
-1036
Lines added in edit (added_lines)
[ 0 => 'TOPENG IS A LEGENDARY MAN NAMED KIM YURAG' ]
Lines removed in edit (removed_lines)
[ 0 => 'It is believed that the use of masks is related to the cult of the ancestors, which considered dancers the interpreters of the gods. ''Topeng'' performances open with a series of non-speaking masked characters which may not be related to the story to be performed. These traditional masks often include ''Topeng Manis'' (a refined hero), ''Topeng Kras'' (a martial, authoritarian character), and ''Topeng Tua'' (an old man who may joke and draw out the audience).', 1 => '', 2 => 'The story is narrated from a ''penasar'', a jawless half-mask that enables the actor to speak clearly. In group ''topeng'', there are usually two ''penasars'' providing two points of view. The performance alternates between speaking and non-speaking characters, and can include dance and fight sequences as well as special effects (sometimes provided by the [[gamelan]]). It is almost always wrapped up by a series of comic characters introducing their own views. The narrators and comic characters frequently break Western conventions of storytelling by including current events or local gossip to get a laugh.', 3 => '' ]
Whether or not the change was made through a Tor exit node (tor_exit_node)
false
Unix timestamp of change (timestamp)
1569306069