Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theater

Panasar

Panasar 0 Panasar and kartala are the half-mask comic narrator/philosophers of topeng and other dance dramas. The performers' lower lip and jaw are not covered by the mask, enabling them to vocalize. Attendants to the ratu, 'king, prince' or to a prime minister, these two brothers, or close cohorts, speak for the fully masked royal characters.1 There are two basic kinds of panasar masks: mata batu, with bulging "stoney eyes," and mata bolong, with eyeholes cut out, leaving the performer 's eyes exposed for dramatic effect. The kartala's eyeholes are always cut out (bolong), but left as slits, so the actor's own eyes are not seen. This is different from most other Balinese masks, including panasar mata batu, which have the eyes painted in, with a slit just below through which the actor sees. Ketut Rinda's mask is that of a strong panasar Delem,2 so his eyes and basic composure must be a bit forceful, keras. But he's not the boastful, hyperenergetic type, only about 20 percent Delem, according to Pak Tempo, who describes Pak Rinda's panasar Delem as a serious character. Made Sija sees panasar mata bolong as requiring more focus, since the audience observes your eyes. But Pak Rinda, who is the prototypical open-eyed panasar, has told me that he considers his panasar Delem more free to be funny and to connect directly with the audience. Wayan Retug's mask is more the bragging, nervous Delem. With his particular mask, I am told, the movement cannot be anything but just like Retug's. One can't help it; the mask is uncompromising. A performer finds r. See the "Masolah" chapter for a perspective on panasar characterization. The kartala is also called panasar cenikan 'the younger' while the elder is panasar kelihan. Panasargenerally refers to the elder. 2. A style of panasar mask somewhat derived from the Delem character in wayang wong dance drama and wayang kulit. In one style, the performer's eyes are exposed, unlike wayang wong's Delem, who has bulging wooden eyes. Panasar I 71 Topeng's kartala danced by I Wayan Teduh (1972). Photo by Beth Skinner. his hands always wandering around, in the air and on the body, picking his nose and sniffing, after scratching inside his ass (conspicuously using the same finger). This panasar is still only about 50 percent Ddem-a funny one, using Indonesian language a lot, but in a clumsy manner, such as incorrectly using begini, begitu 'like this, like that' and bragging on and on. He's sometimes more like a pure comic bondres3 than a serious panasar. Tempo identifies his own panasar mask as more ofa wizened Twalen character . But Pak Sardru's style is considered roo percent Ddem; his stance is solid and square, with swaying head and body, coarse vocal style, shifting balance ofarms and legs, and an exhilarated air ofself-satisfied mirth. Pak Sija describes one ofhis panasar masks as human, the next as dedeleman , suggesting some differentiation. But he later indicates that Ddem is 3· Bondres are the half-mask characters, often in a reality one step further toward the audience and out ofthe time-sense of the story. They are responsible for the wilder and sillier antics least relevant to the main narrative, and may divert the story into long, involved, farcical intrigues. One occasional strategy is that a completely loony, rambling, and irrevelant turn of events winds up, after an hour-long diversion from the main story, to serve up as its denouement , providing some key information sought by the more serious characters in the main narrative . Part of the punchline is the shock of two realities-the more immediate bondres and the historical time realm-colliding. v 0 I c E s I N B A L I I 72 human, too, though perhaps on the edge in some respects. He takes on some animal-derived gestures such as sticking his head forward like a bird. As with jauk, some movements are like a tiger, and dedeteman has its own movement ofa bear going after a wasp. He begins by coming out through the curtain the way a normal panasar does, then sees the wasp, takes three steps, hops toward it, grabs at it, then jumps back, waving his hands in front ofhis face. All performers I know agree that the open-eyed panasar Delem style is more...