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UMS Concert Program, November 12, 1977: Penca And Topeng Babakan --

UMS Concert Program, November 12, 1977: Penca And Topeng Babakan --  image UMS Concert Program, November 12, 1977: Penca And Topeng Babakan --  image
Day
12
Month
November
Year
1977
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Rights Held By
University Musical Society
OCR Text

Concert: First
Complete Series: 4083
Rackham Auditorium, Ann Arbor, Michigan

The University Musical Society
III III HIIINUill!
Presents
Penca and Topeng Babakan
from Sunda (West Java)
Saturday Evening, November 12, 1977, at 8:30 Rackham Auditorium, Ann Arbor, Michigan
PENCA
Penca Silat, the art of fighting in Indonesia, has been developed in Sunda, West Java, into a unique dance called Penca. It is accompanied by a small musical ensemble called the Kendang Penca.
Overture (Lagu Pembukaan)
Jurns, basic penca silat (martial arts) exercises Set of ten exercises--Exercise for defense
Didi -Djadja
Tepak Dua, Tepak Tilu, and Padundung (penca dances to different rhythmic patterns). Tepak Dua indicates a slow tempo, Tepak Tilu, a faster tempo, and Padundung, the fastest tempo.
Abas Kohar
Pahredan, Tepak Tilu, and Padundung (penca dances to different rhythmic patterns) with trisula (a threepronged dagger). (Palercdan indicates a tempo faster than that of Tepak Dua, the slowest tempo, but not as fast as Tepak Tilu.)
Djadja
Penca Gobang (Sword Dance)
Holidin
Sipecul (The Whip), Pamonyel (The Ape), Limbuhan (The Lance), and Pamacan (The Tiger)
Didi
Fighting Dance with bclali (knife), gobang (sword), and trisula (threepronged dagger)
Holidin -Abas Kohar
intermission
TOPENG BABAKAN
Among the dances of Sunda, the mask dances arc the most dynamic, and at the same time, the most sophisticated. One type of mask dance called Topeng Babakan is danced by only one per?former who, by the use of different masks, takes on the characteristics of legendary figures from ancient Javanese stories. Before the dancer puts on a mask, he dances to get into the mood of the character to be portrayed and invokes the spirits to help him do so. When he is ready he puts on the mask and then becomes that character. The main dancer is occasionally joined by one of the musicians who puts on a mask and improvises. The mask dance is traditionally performed at auspicious occasions.
Pandji (a perfect noble character)
Sujana
First Concert
Seventh Annual Asian Series
Complete Programs 4083
Samba (a sweet, young, charming person) is joined by Pentul (a clownish male servant). The clowns usually make comments about the occasion for the performance, ask the main character what he plans to do, sometimes make fun or imitate the main character, and talk about topical matters. The clown's part is improvisational.
Samba..............Sujana
Pentul...............Bulus
Rumiang (a refined, lighthearted, flirtatious noble character)
Sujana
Tumenggung (a strong, shrewd character) meets Jingga Anom (a knight) from his kingdom Janggala, who has been away a long time. Tumenggung wants Jingga Anom to return to Janggala but Jingga Anom refuses, and the two fight. Jingga Anom is defeated and is taken back to Janggala. Before the episode begins, Temben (a female servant) appears and is teased by the musicians for being so ugly.
Temben...............Bulus
Tumenggung.............Sujana
Jingga Anom.............Sandrut
Kalana (an evil, lusty, greedy king)
Sujana
About the Artists
Midi. Djadja, Holidin, and Abas Kohar, as well as their musicians, are part of the largest penca association in Bandung, Sunda, called Panglipur. All of them are performing and teaching in the Bandung area. They have never been seen outside of West Java, except for one tour in Malaysia. They have appeared on television in Jakarta. Sujana, one of the most prominent male maskdancers and teachers from Slangit in the Cirebon region of Sunda, took part in the Inter?national Ramayana Festival at Pandaan, East Java in 1971. He has never been outside of Indonesia. Bulus is recognized as the most brilliant and wellloved clown in the Cirebon region. Enoch Atmadibrata, director of the troupe, is a dance teacher, dancer, lecturer, and author of an essay on "Sundanese Dance" which appeared in the Grove Dictionary. He is director of the West Java Cultural Development Project and has taught in the United States at UCLA and at Ohio University.
PENCA
Djadja, dancer and kendang anak (large doubleheaded drum) and kulanler (small doubleheaded drum)
Abay, kendang indung (mediumsized doubleheaded drum) and kulanter (small doubleheaded drum)
Holidin, dancer and tarompet (reed instrument) Abas Kohar, dancer and tarompet (reed instrument) Otong, kempul (small gong) Didi, dancer
TOPENG BABAKAN
Sujana, dancer
Bulus, clowndancer and goong and kempul (gong)
Sandrut, dancer and goong and kempul (gong)
Bodonc, kendang (set of drums)
Otong, bonang (set of ten kettles)
Amud, saron (ninekeyed metallophone)
Abay, panerus (sevenkeyed metallophone)
Enoch Atmadibrata, kecrek (set of untuned metal plates)
Abas Kohar, kebluk (pair of mediumsized kettles)
Djadja, kemanak (handheld bronze percussion instruments)
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phone: 6653717, 7642538

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