Abstract:Wayang Topeng Malangan is a valuable cultural asset with various potentials for the development of the nation's character, but the many people in Malang are still unaware. Getting to understand the studio is the entrance for the people to understanding Wayang Topeng Malangan, one of which is Padepokan Seni Topeng Asmorobangun. The aim of this research is to obtain a visual marketing communication design in the form of Asmorobangun brand, that can increase brand equity, as well as marketing media that can becom… Show more
“…Furthermore, the art of Malang mask puppet is no longer widely known by the younger generation in the city of Malang. The younger generation considers traditional art as an ancient thing, some do not even know and have access to mask puppet art (Nirwana & Setiyati, 2018). Art practices and appreciation activities are limited to only a few groups such as artists, art students, researchers, and cultural observers, without the support of the community who is the owner.…”
This study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-district and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned this art since the age of four. Padepokan Mangun Dharma is the home of mask puppet art, as well as music, traditional dance, and theatre, macapat, puppetry, and shadow puppets. The history of the inheritance of this hermitage began with the great-grandfather of the puppeteer Soleh namely Kek Sainten (Grandpa Sainten). The current heir of Padepokan Mangun Dharma is the son of the puppeteer Soleh, Supriyono Hadi Prasetyo, who also learned puppetry both autodidact and formally through college. Although inheritance occurs vertically, which is hereditary in each hermitage, horizontal inheritance also occurs between the two. This indicates that the inheritance process of Padepokan Asmoro Bangun and Mangun Dharma are related to each other.
“…Furthermore, the art of Malang mask puppet is no longer widely known by the younger generation in the city of Malang. The younger generation considers traditional art as an ancient thing, some do not even know and have access to mask puppet art (Nirwana & Setiyati, 2018). Art practices and appreciation activities are limited to only a few groups such as artists, art students, researchers, and cultural observers, without the support of the community who is the owner.…”
This study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-district and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned this art since the age of four. Padepokan Mangun Dharma is the home of mask puppet art, as well as music, traditional dance, and theatre, macapat, puppetry, and shadow puppets. The history of the inheritance of this hermitage began with the great-grandfather of the puppeteer Soleh namely Kek Sainten (Grandpa Sainten). The current heir of Padepokan Mangun Dharma is the son of the puppeteer Soleh, Supriyono Hadi Prasetyo, who also learned puppetry both autodidact and formally through college. Although inheritance occurs vertically, which is hereditary in each hermitage, horizontal inheritance also occurs between the two. This indicates that the inheritance process of Padepokan Asmoro Bangun and Mangun Dharma are related to each other.
“…Local traditional arts are considered unappealing to most teenagers in Indonesia. For example, in Malang city, East Java, Indonesia, more than 50% of teenagers do not know about the local traditional art of Wayang Topeng Malang (WTM) [1]. Teenagers prefer to consume popular culture from other countries, such as Korea and Japan.…”
This article reports the urban toy design process as a result of the visual style transformation of Wayang Topeng Malang (WTM), one of the traditional arts in Malang, East Java, Indonesia. The visual style which has been acquired by ATUMICS method combines decorative elements on the headpiece (urna, sinom, and cula), the color of the mask, the expression of the mask with a humanoid body shape wearing an urban teenage fashion style. The team designed the looks of the character and discussed it with several stakeholders through focused group discussion (FGD), including performance art academics, WTM Artist, illustrators, and urban toys community in Malang. The FGD conducted twice. The first one is to choose the final design of the character, and the second one is to breakdown models/toy parts. This design process results in a 3D model of urban toy design that is expected to preserve local traditional culture.
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