10.6092/issn.1973-9494/12798
Questo articolo riguarda la storia e il significato della maschera Bebegig Sukamantri che viene utilizzata nel carnevale popolare sostenibile e in rapida crescita a Giava occidentale, in Indonesia. Le maschere utilizzate nel carnevale sono uniche e sono un'espressione del patrimonio culturale lasciato dagli antenati dell'antico popolo sundanese a Giava occidentale.
Ogni maschera, in vari colori e forme, deriva dal volto di Batarakala, che è una figura molto nota nella cultura indù e rappresenta il dio della rabbia. In base alle varie forme e colori delle maschere, ci sono tre gruppi, che si ritiene si riferiscano alla mitologia dell'esistenza di creature astrali che proteggevano l'antico popolo Sundanese, vale a dire Rakshasa per la nobiltà, Detya per la gente comune e Denawa per il clero. L'esistenza di questi esseri astrali si trova nell'antico manoscritto del XV secolo intitolato Sanghyang Siksa Kanda ing Karesian (un indizio per Reshi).
Tutelare la maschera di Bebegig Sukamantri come parte dell'antico patrimonio culturale sundanese è un obiettivo utile a causa della sua unicità e del suo significato per le generazioni future. È, inoltre, molto apprezzato come manifestazione carnevalesca culturale sia a livello nazionale che internazionale.
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Rosa Karnita
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Conservation Science in Cultural Heritage
heritage
Bebegig Sukamantri: Astral Sunda Heritage in Indonesia
Text.Serial.Journal
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Articles
2021-05-13
2021-04-27
2021-05-13
2021-05-13
181-196
CSCH
Rosa Karnita
2020
10.6092/issn.1973-9494/12798
181
Institut Teknologi Nasional (Itenas) Bandung, Indonesia
1973-9494
heritage
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Bebegig Sukamantri: Astral Sunda Heritage in Indonesia
https://conservation-science.unibo.it/article/download/12798/12514
20
B     EBEGIG SUKAMANTRI: ASTRAL SUNDA HERITAGE IN
      INDONESIA

   Edi Setiadi Putra, Rosa Karnita*
   Institut Teknologi Nasional (Itenas) Bandung, Indonesia


   Keywords: Bebegig Sukamantri, astral, Sundanese, mask, heritage



   1. Introduction

    This study seeks to reveal the meaning and function of the Bebegig Sukamantri
mask. Bebegig Sukamantri is a carnival art that uses a large wooden mask with creepy
facial characteristics. The research was conducted to determine the type of mask char-
acters and their meanings in Sundanese culture because no researcher has ever made
an analysis based on an interpretation of the mask design. The research was conducted
using qualitative methods in the form of triangulation techniques which refer to the use
of various methods or data sources to obtain a comprehensive understanding of the
cultural heritage and socio-cultural phenomena that have developed in Sundanese
society in Indonesia.
    In Ciamis Regency, West Java, Indonesia, there are six fast-growing carnival arts,
namely Bebegig Sukamantri, Pontrangan, Mabokuy, Buta Kararas Tilas, Wayang Land-
ung and Mengmleng Art. Carnival art is a colossal art performance in the form of a pa-
rade accompanied by music, songs and theatre. Bebegig Sukamantri carnival art won
the ORI (Original Record Indonesia) award in 2016 as the record-breaker for having
the highest number of dancers. In 2018 the Government of the Republic of Indonesia
established Bebegig Sukamantri as part of Indonesia’s intangible cultural heritage and
it has subsequently become a famous cultural icon of the province of West Java.
    Bebegig means scarecrow. Its function is to scare people who cross certain limits
in restricted areas. Bebegig Sukamantri, however, is different from the scarecrow in
general because it has a distinctive shape and character. The visual character of Be-
begig is unique because it only exists in West Java, Indonesia. The function of the
Bebegig, according to Dais Darmawan [1], is to act as a representation of the guardian
of the surrounding natural environment based on the word bebegig and refers to the
scarecrow used by villagers to ward off and scare pests. The history of the Bebegig is
not found in ancient Sundanese texts, except in the form of fairy tales or legends that
are narrated and passed on from generation to generation.
    Bebegig Sukamantri is a mysterious, mystical and mythological form of performing
art. Each Bebegig dancer adopts a very frightening attribute by wearing a large mask
representing the characteristics of the face of the fierce Batarakala and they are dressed
in palm fiber costumes with a headdress made from forest leaves and usually carry a
replica of an ancient weapon. The dancing is very agile and manly, and their behaviour
tends to be arrogant. The form and appearance of the Bebegig Sukamantri are related
to the ancient Sundanese culture which is linked to the era of Hinduism.


   * Corresponding author: edsetia@itenas.ac.id
                                                                                             The process of interpreting the symbolic meaning of the Bebegig Sukamantri mask
                                                                                        was carried out through an ethnographic approach. Researchers conducted interviews
                                                                                        and visually observed the Bebegig dancers and mask-making artists. This was done
                                                                                        due to the limited literature and inadequate data that were already available.
                                                                                             In examining and interpreting the meaning of the mask, the researchers carried out
                                                                                        a differential semantic analysis of the distinguishing elements of the design in the mask
                                                                                        products. Researchers grouped the different types and interpretations of the masks
                                                                                        based on similarity in the design elements. The design elements observed included the
                                                                                        mask’s character, color and ornamental attributes. The characteristics of the mask in-
                                                                                        clude the details of the facial features, the expression and the shape of the molars and
                                                                                        fangs. The visual analysis of the attributes of the mask decoration was also carried out
                                                                                        to find similarities between the visual features that would indicate the existence of
                                                                                        character groups based on Sundanese cultural values. This character grouping found
                                                                                        three different types of characters, the three characters having the potential to be icons
                                                                                        of the astral culture of the Sundanese people.
                                                                                             Color interpretation analysis was performed on the dominant mask colors and color
                                                                                        combinations and was defined according to the character of the mask.
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                             Researchers also collected Bebegig mask photography documentation data from
                                                                                        various social media in Indonesia, published in 2019. The result of this process found
                                                                                        about 54 different known mask designs.


                                                                                           2. Literature review

                                                                                           2.1. History of the Bebegig mask

                                                                                            Scientific studies about the Bebegig Sukamantri mask are still scarce, but quite a
                                                                                        lot of people write articles about Bebegig Sukamantri on various social media in Indo-
                                                                                        nesia. It is a form of empathy and admiration for the preservation of this ancient culture.
                                                                                        The history of the presence of Bebegig Sukamantri, moreover, is not found in ancient
                                                                                        Sundanese texts except in the form of folklore.
                                                                                            Research on the Panji mask that developed in the Kingdom of Kediri (1042-1222)
                                                                                        states that the growth of mask art reached its heyday during the Majapahit Empire
                                                                                        (1313-1364). The Majapahit mask is thought to have something to do with the shape of
                                                                                        the Bebegig Sukamantri mask mentioned in the historical story of the Bubat tragedy
                                                                                        when Prabu Maharaja Linggabuana and his daughter, Dyah Pitaloka Citraresmi, from
                                                                                        the Kingdom of Sunda (932-1579) were attacked by Bhayangkara Majapahit and led
                                                                                        by Bhre Wengker who was wearing a Bebegig mask [2].
                                                                                            The story of the Bubat tragedy was later written in a poetic book entitled Kidung
                                                                                        Sunda or Kidung Sundayana. Kidung Sunda is an ancient 15th century literary work in
                                                                                        the form of old Javanese verse. It was re-adapted by C.C Berg in 1927 into Dutch and
                                                                                        entitled: “Kidung Sunda.inleiding.tekst.vertalingen aanteckeningen.BKI83 1-169”. In his
                                                                                        opinion, the Kidung Sunda should be considered a literary work and not an accurate
                                                                                        chronicle of history, although it is likely based on factual events.
                                                                                            To commemorate the Bubat tragedy, Mangkubumi Hyang Bunisora Suradipati, as
                                                                                        the next Sundanese king, made a replica of the Bebegig mask as a totem which was
                                                                                        installed in several strategic areas. This Bebegig mask therefore functioned as a way
                                                                                        to guard territories and repel enemies, since in protecting the territory of the kingdom,
                                                                                        the troops patrolling the Sunda Kingdom wore Bebegig masks. This particular form of
                                                                                        cultural heritage then developed over time into today’s colossal carnival art.


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   2.2. Development in the meaning of the mask

    Research on the meaning and function of masks in Indonesia refers to the develop-
ment of wayang wong (classical Javanese dance) mask dance, wayang golek (wooden
puppet art from West Java) and various other arts that use masks as the main attribute.
Various mask arts in Indonesia are experiencing significant dynamics of change and
while most of them have been preserved as traditional cultural heritage and their au-
thenticity has been maintained, some of them have been developed as souvenir prod-
ucts for tourism.
    The results of research on the development of the wayang kulit Malang art (leather
shadow puppetry from East Java), show that there has been a process of change in
which the value of art has been influenced by three factors, namely masked dance
performances, tourism and mask production for commercial purposes. Commodifica-
tion in Indonesia has transformed art into a commodity, so that art objects have be-
come part of the local tourist industry [3]. If in Indonesia traditional masks have devel-
oped into a means of fostering tourism, in Africa, for example, it has developed more
as a means of introducing cultural heritage into an educational process. Research on
the development of the meaning of masks in Africa shows the function of traditional
masks as a means of educating, to understand the heritage and local wisdom of this
African form of culture. Some cultural education experts learn about African culture
through the experience of making African masks using authentic African symbolism [4].
    In advanced western societies, the traditional use of historical masks is now beyond
practical purposes, but undoubtedly serves as a link between past and present. Nev-
ertheless, they are consistently used in drama education and are usually contextualized
through specialized knowledge of drama and theater practices. Based on a cultural un-
derstanding of the past and present, anthropology offers a context of masks and drama
which shows that the purpose of masks in society supports the benefits of a broader
education outside the academic field, such as for child development in formal educa-
tion. The application of mask education and reframing the potential for schools to en-




                                                                                               Conservation science in Cultural Heritage
gage with anthropological concepts in a full curriculum, would provide considerable ad-
vantages [5]. In drama, teaching and learning about masks is carried out and presented
as a methodology for acquiring a basic knowledge of the art and there are many work-
shops and journal articles available for teachers who offer knowledge or implementa-
tion of mask work [6].
    The numerous articles about masks can be studied in many contexts, as mask cul-
tures are found all over the world. Almost every nation has an exclusive mask type with
varying interpretations. In Indian mask culture, there are complex interpretations of the
meaning of masks because they have been closely intertwined with other cultures across
the world. Changes in the meaning of masks occur based on different geographical loca-
tions, various races, languages, religious beliefs and rituals. The various interpreta-
tions of Indian masks influence social structures in creating a unique panorama of the
art of mask making. The mask is also used as a tool to criticize the norms of an intoler-
ant society and stereotypical culture. Masks were also successfully displayed outside
religious structures and often resulted in increased acts of humanism. [7].
    The Bebegig Sukamantri mask is different from other masks in the world. This mask
is very large and heavy and has a creepy facial appearance. The mask has undergone
a change in meaning and function over time and from being a reinforcement for repel-
ling disasters, it has developed into a carnival character. The various character varia-
tions in the masks show the dynamics of the Sundanese artist community who are
active in creating new, unique and diverse aspects (Figure 1).


                                                                                             183
                                                                                                              Figure 1. Several profiles of Bebegig Sukamantri.
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                           2.3. Development of a carnival performance

                                                                                            The most common topics from the perspective of cultural studies on folk festivals
                                                                                        are the festivalgoers, festivals as spaces where cultural identity negotiations take place,
                                                                                        festivals as part of subcultural networks and festivals as spectacles [8].
                                                                                            It is commonly understood that in carnivals, the mask can also be compared to a
                                                                                        kind of fashion show, which is always associated with glamour, luxury, star hotels, city
                                                                                        centers, elite societies, lights and glittery costumes. It is often not realized that fashion
                                                                                        shows have created firm boundaries between the center and the periphery, the elite and
                                                                                        the public, the upper and the lower classes, the glamorous and the old-fashioned [9].




                                                                                                        Figure 2. Bebegig Sukamantri Parade (source: koropak.co.id).


                                                                                           The development of carnival in Indonesia is similar to that developed in Rio de
                                                                                        Janeiro (Rio Festival) or flower festivals in several cities across the world. But the Be-
                                                                                        begig Sukamantri carnival (Figure 2) is very different, as this carnival avoids luxury and
                                                                                        emphasizes simplicity by using natural ingredients that are widely available in village


                                                            184
forests. This approach is strongly sustained because it is relevant to the forest conser-
vation efforts developed by the Government of Indonesia. As a result, Bebegig Suka-
mantri is highly appreciated and fosters a lot of empathy from the wider community.


          3. Methodology

    As mentioned earlier the research on Bebegig Sukamantri uses an ethnographic
approach, namely through visual observation and structured interviews. To understand
the meaning of the characteristics and attributes of a mask, visual design analysis was
used based on a perception of the concept of similarities and differences in mask design,
which provided the final results and important data. The qualitative descriptive study was
then examined and a search made to find possible hidden meanings in the mask de-
signs involving icons or signs and any other distinguishing marks [10].
    The purpose of this research is to find aspects about Bebegig Sukamantri that have
been preserved but are not clearly identitified in people’s general perception. Through
the process of product design analysis, regarding the colors, characters and attributes
of the Bebegig mask, it is hoped that an objective benchmark for comparison can be
found [11].
    The study employs triangulation techniques as a strategy to test validity data, through
the convergence of information from multiple sources [12]. Literature about Bebegig
Sukamantri is very scarce, so to find additional data, inteviews were carried out with
mask craftsmen and Bebegig dancers; this contributed to further understanding the
scientific, technological and cultural values of the Bebegig Sukamantri mask.
    For data collection, interviews were conducted traditionally, to accurately under-
stand “what people say they do”. In understanding cultural values, ethnographic obser-
vation activities were carried out, namely by “observing what people do” and document-
ing their actions. Additionally, to find out what techniques are employed in mask making,




                                                                                                Conservation science in Cultural Heritage
a participatory design process was carried out by involving members of the research
team in the crafting of the masks [13].
    A visual data analysis was made of the appearance and character design of the
Bebegig Sukamantri mask using a pattern of connectedness between science, tech-
nology and culture. This interaction forms the original character of the Bebegig Su-
kamantri mask as a cultural product. To focus on understanding mask products, it is
necessary to look at them from the point of view of science, technology and culture
combined. Understanding the concepts and values and their cultural meaning re-
quires involvement in various community activities so that a complete picture of the
behavior, habits and understanding of the Bebegig people is obtained, both in terms
of historical meaning and the possibility of change and development. This is illustrated
in Figure 3.
    In collecting visual data about the Bebegig Sukamantri mask, images, photos and
videos of the Bebegig Sukamantri Mask Carnival were also collected from various
social media in Indonesia. News about the carnival is well-publicized, but there is
absolutely no discussion regarding the character of the masks used. In the process
of visual analysis, 54 pictures of the Bebegig Sukamantri mask were selected which
differed from one another. The most significant differences were found in the facial
features, mask color and other attributes. To focus on the visual analysis of the
masks, other attributes, such as clothing, headdresses and weapons are not dis-
cussed directly.


                                                                                              185
                                                                                                          Figure 3. Schematic representation of research method.
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                           4. Result and discussion

                                                                                           The analysis of the 54 selected Bebegig Sukamantri mask designs found several
                                                                                        similarities and differences. The components observed in each of the Bebegig masks,
                                                                                        consisted of the (a) shape and color of the eyes; (b) nose shape; (c) ear shape; (d) tooth
                                                                                        shape and length; (e) gum shape; (f) tongue shape; (g) eyebrow shape; (h) the position
                                                                                        and shape of the horn.




                                                                                                           Figure 4. Classification of Bebegig Sukamantri masks.

                                                                                            Other distinctive features that were noted in the Bebegig Sukamantri mask was the
                                                                                        use of a headdress and necklace. The headdresses found were “tilak cakra” (a mark
                                                                                        on the forehead), “topong” (a cloth tie), “makuta” (a royal crown), and horn. There are


                                                             186
two types of necklaces, namely “japamala” (made of prayer beads) and Butakala (fangs).
This grouping of Bebegig Sukamantri mask features raises the matter of the existence
of three types of Bebegig mask characters. In accordance with their form and charac-
ter, these three types of characters are depictions of astral beings, identified as Detya,
Denawa and Rakshasa. The three names of these astral beings are revealed in sec-
tion XXII (15th century) of the lontar text “Sanghyang Siksa Kanda ing Karesian”, where
there are three types of guardian deities who protect the three social groups of the
Sundanese people. Detya is the protector of the rama (peasants), Danawa is the pro-
tector of the reishi (clergy) and Rakshasa is the protector of the ratu (aristocrats and
warriors) [14]. This is represented in Figure 4.
     Similarity factors identified as group markers include:
1. The face color, consisting of red, black, green, white and yellow hues. Each color
     represents a different meaning for the Bebegig characters.
2. The concept of different accessories for Detya, Denawa and Rakshasa is an effort
     to adjust to their rights and obligations. A farmer or commoner, accustomed to a
     simple lifestyle, only uses a headband made of a sarong or a piece of batik cloth.
     The aristocrats wore more valuable sparkly head decorations, and the warriors
     wore simple helmets or helmets with horns. The reshi only used turbans and head-
     bands without any decoration.
3. Dénawa’s distinctive attributes are the large japamala necklace (made of prayer
     beads) around the neck, the belt collar, bone necklace and the rattan strands.
4. The existence of tilak chakra, a sacred marker in the form of dots or other shapes,
     located on the forehead or between the eyes. Tilak chakra does not have the func-
     tion of a third eye but rather, is a sign of purity, as a protective spirit or as a marker
     of astral beings who have a particular task. Tilak chakra is generally a single mark,
     similar to a dot, but there is also a compound called a mandala. Mandala patterns
     are found in many Réshi or Dénawa Bebegig masks (Figure 5).




                                                                                                    Conservation science in Cultural Heritage




                      Figure 5. Attributes of Bebegig Sukamantri groups.


    Based on the attributes of the three types of Bebegig Sukamantri mask, a fairly clear
picture is seen, where each type of mask is associated with the three icons of the astral
beings. Some of the same details can be developed as immutable provisions, while very
different details are new and contemporary creations.


                                                                                                  187
                                                                                           4.1. Meaning and character of the red Bebegig Sukamantri mask

                                                                                            The classification based on the dominant color of the Bebegig mask shows the dif-
                                                                                        ferent functions and roles of the Bebegig in the carnival scene.
                                                                                            The group of red Bebegig masks is a visualization of angry, arrogant, dangerous
                                                                                        characters. Figure 6 shows 15 designs of Bebegig masks dominated by red consisting
                                                                                        of Dénawa (numbers 01, 02, 05, 09, and 11), which are adorned with a Japamala neck-
                                                                                        lace. Rakshasa (numbers 02 and 05) also has a crown. In particular, numbers 02 and
                                                                                        05 are a combination of Dénawa and Rakshasa.
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                                                 Figure 6. Red Bebegig Sukamantri masks.

                                                                                           In the arena, red Bebegig masks show a dignified but dangerous character and
                                                                                        generally have many very large fangs, indicating the level of danger or threat to other
                                                                                        Bebegig; red Bebegig mask dancers must be tall heavy adults.


                                                                                           4.2. Meaning and character of the black Bebegig Sukamantri mask

                                                                                             The black Bebegig mask represents the character who dominates the arena and is the
                                                                                        bitter enemy of the red Bebegig mask. Black represents mystery, so the movements of the
                                                                                        black masked dancer tend to be unpredictable. The dance movements and the rhythm
                                                                                        of the accompanying music are generally very lively and noisy. Figure 7 shows 15 designs
                                                                                        of Bebegig masks that are predominantly black consisting of Dénawa (numbers 16, 18,
                                                                                        19, 20, 21, 26, 28, and 29) with a Japamala necklace and a fang necklace. A black Be-
                                                                                        begig mask never dances alone, but always collectively, to form a long flowing procession.
                                                                                             The black mask designs (numbers 20, 24 and 29) belong to the Rakshasa group be-
                                                                                        cause they use a crown or head jewelry. Some of the masks have horned helmets, which
                                                                                        is a visualization of knights. This horn is not interpreted as a visualization of animals or
                                                                                        monsters, because it does not show a complete manifestation of animal characters. This
                                                                                        is different when compared to Greek mythological figures such as the Minotaur or Centaur.


                                                            188
    According to the elders of the Bebegig Sukamantri dance group, the black mask is
the color of the oldest mask. This mask shows determination in upholding the princi-
ples of ancestral life and the law of behavior that upholds togetherness.




                        Figure 7. Black Bebegig Sukamantri masks.

   As the oldest Bebegig mask, the black mask triggers the birth and appearance of
new and very different mask creations and are produced by mask craftsmen every year.
The oldest mask attribute can be identified by the use of coconut fibers and a headdress
made of dry, blackish leaves. Figure 8 shows a group of black masks – Dénawa and




                                                                                             Conservation science in Cultural Heritage
Rakshasa – and being the oldest Bebegig masks it is these that have spurred the devel-
opment of Bebegig art to date.




                   Figure 8. A group of black Bebegig Sukamantri masks.


                                                                                           189
                                                                                           4.3. Meaning and character of the green Bebegig Sukamantri mask

                                                                                             The Bebegig Sukamantri green mask is less scary than the red and black mask,
                                                                                        although its ferocity and courage are still visible. In order to maintain a more terrifying
                                                                                        visualization, many craftsmen add huge fangs, blood and sharp teeth. Green masks
                                                                                        are intermediaries and peacekeepers. They are generally made with the effect of hav-
                                                                                        ing rough, scaly skin. Détya (numbers 34, 37, 38, 39, 40, 42, and 45) has special marks
                                                                                        and generally represents a group of farmers tasked with protecting forest areas.
                                                                                             Rakshasa masks are green in color, and generally have a kind of royal crown with
                                                                                        ornate carvings of cut gold and gemstones sprinkled in several points. The crown has
                                                                                        gradually become larger showing Rakshasa’s position as a noble of high rank and im-
                                                                                        mense power.
                                                                                             The dominant green color in the green Bebegig Sukamantri mask becomes even
                                                                                        more substantial with the addition of green leaves on the head so that it leads to the
                                                                                        concept of a fusion between ancestral spirits and the natural environment as a form of
                                                                                        animist and dynamic behavior.
                                                                                             The existence of the ancestral spirits is visualized in the form of a green Bebegig.
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                        It is a manifestation of natural energy that exists as a mutualistic relationship between
                                                                                        village communities and the surrounding forest area which is dominated by green.
                                                                                        Figure 9 shows some green Bebegig masks:




                                                                                                                Figure 9. Green Bebegig Sukamantri masks.


                                                                                           4.4. Meaning and character of the white, yellow and blue Bebegig Sukamantri
                                                                                                masks

                                                                                            The presence of Bebegig masks in white, yellow, blue, or other colors, indicates the
                                                                                        freedom to create. The creation of colored masks other than black, red and green is an
                                                                                        anomaly and several mask makers have cited the difficulty of presenting a fierce and
                                                                                        dangerous figure. The mask-makers saw non-Batarakala characters as an opportunity
                                                                                        to present a variety of different “monsters”, but most failed.


                                                           190
    The white, yellow and blue Bebegig Sukamantri masks and animal shapes (num-
bers 52, 53, and 54) are new creations featuring different characters. The mask mak-
ers claim that the non-Batarakala character is not Bebegig Sukamantri, because the
original Bebegig characteristic is the face of Batarakala. Masks with other characteris-
tics are referred to as monsters, or other evil creatures popular in Sundanese folklore.
    The younger generation of Bebegig mask makers have tried to make new creations
based on popular Western characters such as elves, orcs, werewolves and vampires,
but they were very short-lived. These new mask designs quickly disappear because
the public dislikes them and are consequently not accepted, whereas the Bebegig mask
featuring Sundanese astral creatures is a long-established part of their culture and is
irreplaceable. Figure 10 shows a selection of these new creations.




                  Figure 10. Selection of new Bebegig Sukamantri masks.


   4.5. Sundanese astral culture in the Bebegig Sukamantri carnival




                                                                                                Conservation science in Cultural Heritage
    In the Bebegig Sukamantri carnival there are ritual events performed for the safety
of the carnival and dances which are called tawasulan. These rituals take the form of
people praying together in forest and mountain areas. In ancient times, the people of
Sukamantri Village performed this ritual in the ancestral burial area which was consid-
ered sacred. Bebegig Sukamantri is basically an art related to mysticism, where super-
natural powers play an important role as a channel for energy for Bebegig dancers who
wear and control an 80 kg mask for more than 5 hours. The existence of this astral
energy makes this art even more interesting, as well as captivating and entertaining for
the public. The ability of the Sukamantri community to present astral energy is part of
the local wisdom that shows a certain genius in connecting astral energy with physical
human strength and muscles.
    However, for the young generation of Bebegig Sukamantri dancers and mask makers
there have been very significant changes, most of which reject this mysticism. For exam-
ple, eliminating the tawasulan ritual in sacred tombs is a major change that the commu-
nity is grateful for and is seen as something positive, not something that is unacceptable.
    The Bebegig Sukamantri Mask Carnival is only held on major holidays in Indonesia
and is especially important in welcoming Independence Day. Everyone, young and old
alike, joins the carnival with great enthusiasm because on this particular day all mem-
bers of the community wear their respective masks of pride. This is an occasion when
mask makers generally try to present new and different creations.


                                                                                              191
                                                                                            The carnival program features dance dramas that originate from the stories of the
                                                                                        heroism of the people’s ancestors. Wearing large scary masks, the people dance to
                                                                                        traditional music. Some of the small masks, also worn by children, move around and
                                                                                        dance freely, often producing some very amusing entertainment. In the field, all adult
                                                                                        Bebegig Sukamantri fight to defend the territory captured by other adults. The fight is
                                                                                        quite fierce, but generally ends with mutual forgiveness and walking together in harmony.
                                                                                        The moral of this program is that self-defense is obligatory and that war against evil is
                                                                                        a patriotic duty. In all arenas, evil always loses and the righteous win.


                                                                                           4.6. Development and problems facing the Bebegig Sukamantri

                                                                                            The problem faced by the organizer of the Bebegig Sukamantri mask carnival is
                                                                                        how to preserve this art from the threat of changes in the lifestyle of rural communities
                                                                                        and urbanization. Currently, many of the natural resources used in the manufacture of
                                                                                        Bebegig masks and accessories are scarce, the main causes being drought, forest
                                                                                        fires and deforestation.
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                            The worry of the Bebegig mask crafters at the moment is the decreasing stock of
                                                                                        large old trees as the primary raw material for making masks; the structure of the
                                                                                        mask is made of a wood of African origin (Maesopsis eminii Engl.), Albasiah wood
                                                                                        (Albizia Chinensis) and several other types of wood available in the forest area out-
                                                                                        side the village [15].
                                                                                            The waregu tree (Rhapis Flabelliformis I’Herit) is a type of Palma tree and is a
                                                                                        unique plant with fairly soft stems and fan-like leaves widely used as a hedgerow. Wa-
                                                                                        regu wood cannot be replaced with other types of wood, because it is a special require-
                                                                                        ment for making Bebegig masks. The people who make the Bebegig Sukamantri mask
                                                                                        need the wood of the waregu tree because it is believed to be a sacred wood that can
                                                                                        repel venomous snakes and reptiles and is considered to have supernatural properties.
                                                                                        The waregu tree grows in the interior of the cold foggy forest, so to obtain its wood to
                                                                                        make the masks requires a great deal of physical, as well as mental, effort and energy.




                                                                                                                   Figure 11. Bebegig Sukamantri mask.


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    Several craftsmen, today, cultivate waregu trees in the land around the village, as
a preparatory step in overcoming the scarcity of raw materials. Some mask craftsmen
also try to use other materials such as wood pulp, pinewood and other types of light
wood that grow around the forest. Another problem faced by the community is the
enormous size of the masks weighing more than 20 kg for a small mask, 30-40 kg for
a medium-sized mask, and 50-60 kg for a large mask (Figure 11). With the average
carnival lasting 5 hours, at the end of the event the mask dancers are physically ex-
hausted and even risk injuring themselves. This is because the use of coconut palm
fibers, which are sharp, can damage the skin. A solution therefore needs to be found
to this particular problem. The authenticity of the use of forest materials is indeed good,
but the use of the original Bebegig Sukamantri gear should be rethought and alterna-
tives found. In part, this could be in the form of using softer natural materials or sustain-
able synthetic fur, which would be more comfortable to use and prevent the mask
wearers from harming temselves. But other solutions need to be found.
    Another essential issue that interferes with the performance of the Bebegig Suka-
mantri players is the supporting structure of the mask which is a wooden construction
placed on the shoulders of the dancers. Bearing the weight of the mask, this structure
often results in pain and fatigue due to the excessive pressure put on the upper part of
the body when moving the mask in different directions. In addition, Bebegig Suka-
mantri players have minimal visibility because their eyes are blocked by the masks’
rows of teeth and fangs. The view through the mouth opening in the hood is limited to
the opening between the teeth or when the mouth is wide open (Figure 12). Bebegig
Sukamantri players can only follow dance movements based on the sound of tradi-
tional Sundanese music around them. The motion and direction of the Bebegig players
are regulated through the music.
    The limited vision coupled with the absence of communication media between the
players can at times lead to misunderstandings between the performers.




                                                                                                  Conservation science in Cultural Heritage




                     Figure 12. Ergonomic problems in Bebegig masks.


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                                                                                              5. Conclusion

                                                                                            Topeng Bebegig Sukamantri is a traditional carnival of the Sundanese people in
                                                                                        Indonesia which is quite unique. The natural materials used to make the masks come
                                                                                        from the surrounding forest environment. This mask is very large, and the face is as-
                                                                                        sociated with the scary character of Batarakala who evokes feelings of fear and un-
                                                                                        ease. At first, the masks were made as a symbol of remembrance which then developed
                                                                                        into totem art in forest areas. Since one of the reasons the mask is worn in dances is
                                                                                        to repel disease and enemies, it is also often used as an attribute of patrols to scare off
                                                                                        unauthorized people who wish to cross the borders. Today, it has developed into a colos-
                                                                                        sal carnival art.
                                                                                            The Bebegig Sukamantri mask is made of special wood which is carved manually
                                                                                        without any prior design so that each mask has it own distinct character. The colours
                                                                                        used for the masks are predominantly black, red, and green, each colour represent-
                                                                                        ing a different kind of behavior and character. Based on the physical attributes adorn-
                                                                                        ing the masks, it is known that there are three groups which relate to the concept of
                                                                                        the Sundanese astral creatures respected by the ancient Sundanese people, namely
                                                                                        Rakshasa, Detya, and Denawa.
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                            However, problems exist, as seen in the Bebegig Sukamantri carnival today, where
                                                                                        the dancer’s behavior and the color of the mask’s character are often mismatched. To
                                                                                        try to overcome this problem, each Bebegig dance studio conducts an exercise to
                                                                                        emphasize the need for a match between dance behavior and the color of the mask.
                                                                                        Another problem is the limited vision and heavy weight of the Bebegig mask, which
                                                                                        reaches up to 60-80 kg and has to be carried on the dancer’s shoulders for 5 hours.
                                                                                        This is evidently a very painful experience for the dancer to bear. Efforts are therefore
                                                                                        needed to redesign the mask frame and use lighter materials, so that it provides better
                                                                                        visibility and will be easier and more comfortable for the dancers to move and manipulate
                                                                                        them. And lastly, a communication system between players would be useful in regulat-
                                                                                        ing and coordinating the mask-wearers’ movements according to the color of the mask
                                                                                        with standard procedures being adopted so the carnival runs smoothly and there is no
                                                                                        risk to the dancers.


                                                                                              Acknowledgments

                                                                                            The study was funded by the Institut Teknologi Nasional - Bandung in 2019, through
                                                                                        a project: Strategic Excellence Research Grant (PUSI). The Authors express their ap-
                                                                                        preciation to the Bebegig Sukamantri mask crafters and dancers, and especially the
                                                                                        speakers from Bebegig Baladewa Art Studio.


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                                                                                                  Conservation science in Cultural Heritage
      Biographical notes

   Edi Setiadi Putra has a master’s in Industrial Product Design; he is a lecturer at the
Faculty of Architecture and Design at the Institut Teknologi Nasional (Itenas) Bandung,
Indonesia. His interest is in researching Indonesia’s diverse cultural heritage.

    Rosa Karnita, Ph.D., is a doctor in Visual Communication Design; her field of inter-
est is principally the exploration of Indonesian culture and the study of its diverse heri-
tage. She is also a lecturer in the Architecture and Design faculty at the Institut Teknologi
Nasional (Itenas) Bandung, Indonesia.


      Summary

   This article provides a glimpse into the story and meaning of the Bebegig Suka-
mantri Mask which is used in the art of a sustainable and fast-growing folk carnival in
West Java, Indonesia. The masks used in the carnival are unique and are an expres-
sion of the cultural heritage left by the ancestors of the ancient Sundanese people in
West Java.


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                                                                                            Each mask creation, in various colors and shapes, derives from the face of Batara-
                                                                                        kala, who is a very well-known figure in Hindu culture and represents the god of anger.
                                                                                        Based on the various shapes and colors of the masks, there are three groups, which are
                                                                                        believed to relate to the mythology of the existence of astral creatures that protected
                                                                                        ancient Sundanese people, namely Rakshasa for the nobility, Detya for the common
                                                                                        people and Denawa for the clergy. The existence of these astral beings is found in the
                                                                                        15th-century ancient manuscript entitled Sanghyang Siksa Kanda ing Karesian (a clue
                                                                                        to Reshi).
                                                                                            Preserving the Bebegig Sukamantri mask as part of ancient Sundanese cultural
                                                                                        heritage is a worthwhile goal because of its uniqueness and its significance for future
                                                                                        generations. It is, moreover, greatly appreciated as a cultural carnival event at both na-
                                                                                        tional and international level.


                                                                                             Riassunto

                                                                                             Questo articolo riguarda la storia e il significato della maschera Bebegig Sukaman-
E. Setiadi Putra, R. Karnita - Bebegig sukamantri: astral Sunda heritage in Indonesia




                                                                                        tri che viene utilizzata nel carnevale popolare sostenibile e in rapida crescita a Giava
                                                                                        occidentale, in Indonesia. Le maschere utilizzate nel carnevale sono uniche e sono
                                                                                        un’espressione del patrimonio culturale lasciato dagli antenati dell’antico popolo sun-
                                                                                        danese a Giava occidentale.
                                                                                             Ogni maschera, in vari colori e forme, deriva dal volto di Batarakala, che è una figu-
                                                                                        ra molto nota nella cultura indù e rappresenta il dio della rabbia. In base alle varie forme
                                                                                        e colori delle maschere, ci sono tre gruppi, che si ritiene si riferiscano alla mitologia
                                                                                        dell’esistenza di creature astrali che proteggevano l’antico popolo Sundanese, vale a
                                                                                        dire Rakshasa per la nobiltà, Detya per la gente comune e Denawa per il clero. L’esi-
                                                                                        stenza di questi esseri astrali si trova nell’antico manoscritto del XV secolo intitolato
                                                                                        Sanghyang Siksa Kanda ing Karesian (un indizio per Reshi).
                                                                                             Tutelare la maschera di Bebegig Sukamantri come parte dell’antico patrimonio cul-
                                                                                        turale sundanese è un obiettivo utile a causa della sua unicità e del suo significato per
                                                                                        le generazioni future. È, inoltre, molto apprezzato come manifestazione carnevalesca
                                                                                        culturale sia a livello nazionale che internazionale.




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