Mangun Darmo Mask Troupe and History
📌 The Mangun Darmo mask troupe is located in Tulus Ayu, Tumpang district, and preserves traditional *karawitan* (gamelan music) equipment for regular practice and performances.
👑 Ki Soleh, the custodian of the Padepokan Mangun Darmo, represents the third generation of leadership, tracing the lineage back to the *buyut* (great-grandparent) Sainten in 1890.
📜 Historical documentation from a 1928 book in *Javaansche Forueningen* indicates that Malang masks were already popular in Pucangsongo, Tumpang district, alongside Sengreng (Malang Selatan).

Revival and Art Forms at Padepokan
🤖 Ki Soleh spent 20 years studying various mask traditions (including Topeng Muncar and Topeng Banjet) before returning in 1989 to develop and revive the local tradition.
🎭 The center actively teaches **mask dance (*tari topeng*) every Sunday morning, alongside carawitan classes**, emphasizing that dance must be accompanied by music (*laip*).
🛠️ The Padepokan also maintains units for **shadow puppetry (*wayang kulit*) carving** and *sindhen* (female vocalists), though shadow puppet creation slowed down after the 2003 Bali bombings.

Historical Roots of Mask Performance in Malang
⚱️ The origin of mask performance dates back to the Prabug Jayana era (pre-Mpu Gandring) for **ancestor worship (*arsenter Worship*)**, involving a *pataweh* (shaman) performing *suluk* (chanted prayers).
🎶 Evidence suggests an ancient Gamelan tradition in Malang, with a 8th-century inscription in Kacuk featuring a *gongso* (three-note instrument), referenced by Sri Aji Jayaboyo.
🗿 The concept of honoring spiritual teachers, like Guru Dewaimba, led to the development of the Badut dance (which translates to "dance" in ancient *Purwato* dictionaries), establishing Malang as a cultural source for Nusantara.

Panji Narrative and UNESCO Recognition
📜 The Panji narrative structure gained influence following archaeologist Lydia Keven's research on masked humans, inspiring world dance forms.
👑 During the Singosari Kingdom (12th century), King Wisnu Wardhana created Wayang Wang to unite Hindu and Buddhist practices, supported by the Atapukan Inscription referencing Topeng performances based on *Ramayana* and *Mahabharata*.
✍️ The *Kidung Panji* emerged during this time as a poetic epic, later dispersed across Southeast Asia (including the Malay Peninsula and Bali) following the 1277 Pamalayu expansion by Kertanegara.
🌍 Following a national Panji festival in 2017, efforts were made to gain UNESCO recognition, successfully collaborating with Thailand, which holds records of Panji figures (*Kinu Sekartaji/Bosaba*) in their museums.

Key Points & Insights
➡️ Current efforts must focus on preserving intangible cultural heritage (like Beskalan Putri Malang, Wayang Kulit Malangan, Topeng Malang, and the Kris) to potentially achieve UNESCO status for the Topeng Malangan.
➡️ Traditional Topeng choreography requires clear structure and rigorous training; it is not merely a spontaneous party (*hura-hura*), requiring mastery of rhythm and tempo (*gending ditarikan*).
➡️ True Topeng Malang is fundamentally a storytelling medium, not just a dance; historical validation from *Sabdo Pandito Ratu* requires the performance to fully integrate the role of the *dalang* (puppeteer).
➡️ Performers must **never abandon the *kinangan* (ritual offerings)** involving incense and eggs, as the tradition is intrinsically linked to ancestor worship (*center Worship*).

📸 Video summarized with SummaryTube.com on Jan 15, 2026, 04:26 UTC