Transformation of Yogyakarta panji mask style and its relevance in gender identity reconstruction

Main Article Content

Slamet Subiyantoro
Yasin Surya Wijaya
Mulyanto Mulyanto

Abstract

This study explores the transformation of the form, function, and meaning of the Yogyakarta Panji mask style and its relevance to gender identity reconstruction. The research employs a qualitative single-case study strategy. Data were collected through in-depth interviews, participatory observation, and content analysis of informants, settings, events, and archival documents. Data validity was ensured through source triangulation and informant review, while analysis followed a flow model consisting of data reduction, data display, and conclusion drawing. The findings show that the Panji mask has undergone transformations in three concrete dimensions. Visually, it has shifted from classical pakem conventions to contemporary designs influenced by wood-batik and tourism aesthetics. Functionally, it has changed from a sacred ritual object into a commodity within the creative economy and cultural tourism. Symbolically, its meaning has expanded from traditional Javanese moral-philosophical values to more contextual interpretations linked to social identity and cultural promotion. These shifts contribute to gender identity reconstruction by enabling more inclusive representations of masculinity and femininity. The evolving visual forms, broader social roles including the increasing involvement of women in mask making and renewed interpretations of Panji and Sekartaji demonstrate how traditional arts can promote more egalitarian gender narratives today.

Downloads

Download data is not yet available.

Article Details

Section
Articles

References

[1] I. A. Winarno, “Persoalan Kesetaraan Gender dalam Karya Seni Rupa Kontemporer Indonesia,” ITB Journal of Visual Art and Design, vol. 1, no. 2, pp. 211–223, 2007, doi: 10.5614/itbj.vad.2007.1.2.4.

[2] N. W. Somawati and I. W. Karja, “Contemporary Wayang Beber: Transformative Narration in the Discourse of Philosophy and Society,” International Journal of Social Science and Human Research, vol. 6, no. 08, Aug. 2023, doi: 10.47191/ijsshr/v6-i8-52.

[3] I. B. Manuaba, “Keberadaan dan Bentuk Transformasi Cerita Panji,” LITERA, vol. 12, no. 1, pp. 53–67, Jul. 2013, doi: 10.21831/ltr.v12i01.1325.

[4] C. A. br Angkat, M. Z. H. Lubis, and L. D. C. U. Ginting, “Warisan Budaya Karo yang Terancam: Upaya Pelestarian dan Pengembangan Tradisi Topeng Tembut-Tembut,” Jurnal Cakrawala Ilmiah, vol. 3, no. 8, pp. 2281–2289, 2024.

[5] A. Faiz, I. Kurniawaty, and Purwati, “Eksistensi Nilai Kearifan Lokal Kaulinan dan Kakawihan Barudak sebagai Upaya Penanaman Nilai Jatidiri Bangsa,” Jurnal Educational and Development, vol. 8, no. 4, pp. 27–30, 2020.

[6] G. P. Yuhanda, “Pesan Dalam Tarian Topeng Panji Cirebon,” Komversal: Jurnal Komunikasi Universal, vol. 1, no. 1, pp. 1–21, Feb. 2019, doi: 10.38204/komversal.v1i1.126.

[7] M. Nawardi, P. Y. P. K. Sari, and A. P. A. Widodo, “Fisiognomi Topeng pada Tari Topeng Panji dalam Upacara Manuping di Banyiur Luar Banjarmasin,” Pelataran Seni, vol. 4, no. 2, pp. 101–112, Feb. 2022, doi: 10.20527/jps.v4i2.12738.

[8] S. Yanuartuti, J. Winarko, and J. D. Sasanadjati, “Nilai Budaya Panji dalam Wayang Topeng Jombang dan Relevansinya pada Pendidikan Karakter,” Gondang: Jurnal Seni dan Budaya, vol. 5, no. 2, p. 222, Dec. 2021, doi: 10.24114/gondang.v5i2.29295.

[9] P. D. Hapsari, A. Cahyono, and V. E. Iryanti, “Pola Pewarisan Tari Topeng Panji Di Desa Slarang Lor Kecamatan Dukuh Waru Kabupaten Tegal,” Jurnal Seni Tari, vol. 10, no. 2, pp. 176–184, 2021.

[10] R. T. Wulandari, M. Jazuli, and D. Djatiprambudi, “Rekonstruksi Nilai Karakter Anak dalam Lakon Lahire Panji Laras pada Pertunjukan Wayang Topeng Malang,” Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini, vol. 7, no. 3, pp. 3449–3460, Jun. 2023, doi: 10.31004/obsesi.v7i3.4591.

[11] Y. S. Wijaya, “Nilai Karakter pada Struktur Simbolis Visual Topeng Panji Gaya Yogyakarta,” Gelar : Jurnal Seni Budaya, vol. 18, no. 1, pp. 52–60, Jul. 2020, doi: 10.33153/glr.v18i1.2772.

[12] S. Subiyantoro, P. Pujiono, K. Kristiani, D. Maryono, and Y. S. Wijaya, “Topeng Panji Profil Satria, Raksasa, Dan Dewi Sebagai Sumber Rekonstruksi Pendidikan Karakter: Kajian Semiotika Rupa,” Jantra., vol. 15, no. 1, pp. 1–14, Jun. 2020, doi: 10.52829/jantra.v15i1.127.

[13] B. T. Suwasono, “Rupa Topeng Panji Gaya Yogyakarta di Museum Sonobudoyo,” SULUH: Jurnal Seni Desain Budaya, vol. 4, no. 2, pp. 147–166, Oct. 2021, doi: 10.34001/jsuluh.v4i2.2539.

[14] S. Subiyantoro, D. Fahrudin, and S. B. Amirulloh, “Character Education Values of Pancasila Student Profiles in the Puppet Figure Wayang Arjuna: A Javanese Cultural Perspective,” ISVS: Journal of the International Society for the Study of Vernacular Settlements, vol. 10, no. 6, pp. 84–96, 2023.

[15] E. Armayuda, P. H. Lin, and L. Rungtai, “Sustainability in Transforming Cultural Feature Into Cultural Creative Product Design (Case Study of Malangan Mask) ,” Journal of Arts & Humanities, vol. 9, no. 3, pp. 67–88, 2020.

[16] Y. S. Wijaya, S. Tjahyadi, and V. I. Yulianto, “Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and Gagahan Profiles in Bobung, Yogyakarta,” Harmonia: Journal of Arts Research and Education, vol. 22, no. 2, pp. 311–325, Dec. 2022, doi: 10.15294/harmonia.v22i2.37093.

[17] Y. S. Wijaya, S. Tjahyadi, and V. I. Yulianto, “Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and Gagahan Profiles in Bobung, Yogyakarta,” Harmonia: Journal of Arts Research and Education, vol. 22, no. 2, pp. 311–325, Dec. 2022, doi: 10.15294/harmonia.v22i2.37093.

[18] A. Wibowo, A. Priyatna, and C. Sobarna, “Modifikasi Wayang Topeng Malangan di Padepokan Asmoro Bangun, Kedungmonggo Pakisaji, Malang,” Panggung, vol. 29, no. 3, pp. 219–236, Sep. 2019, doi: 10.26742/panggung.v29i3.1009.

[19] S. Subiyantoro, K. Kristiani, D. Maryono, D. Fahrudin, and Y. S. Wijaya, “Commodification and Authenticity of Traditional Panji Bobung Mask Art in Putat Tourism Village, Patuk, Gunung Kidul, Yogyakarta,” Jurnal Antropologi: Isu-Isu Sosial Budaya, vol. 24, no. 2, pp. 232–240, Dec. 2022, doi: 10.25077/jantro.v24.n2.p232-240.2022.

[20] A. Dyah, “Makna Simbolis pada Unsur Visual Kostum Tari Topeng Babakan Cirebon Keni Arja di Desa Slangit,” ITB Journal of Visual Art and Design, vol. 1, no. 2, pp. 224–245, 2007, doi: 10.5614/itbj.vad.2007.1.2.5.

[21] S. Subiyantoro, M. Mulyanto, and Y. S. Wijaya, “Peranan Perempuan Dibalik Eksistensi Topeng Klasik dan Kreasi Yang Mendunia: Studi Kasus Desa Wisata Budaya Bobung, Gunung Kidul, Yogyakarta,” Jantra., vol. 15, no. 2, pp. 109–122, Dec. 2020, doi: 10.52829/jantra.v15i2.138.

[22] M. Martono, I. Iswahyudi, and A. Handoko, “Topeng Etnik Nusantara Dalam Perkembanagan Budaya Global,” Mudra Jurnal Seni Budaya, vol. 32, no. 1, pp. 123–130, Jun. 2017, doi: 10.31091/mudra.v32i1.91.

[23] T. Sudarto, “Topeng Babakan Cirebon 1900-1990,” Greget, vol. 15, no. 2, pp. 128–139, Mar. 2019, doi: 10.33153/grt.v15i2.2425.

[24] N. Nurasih, “Proses Pewarisan Dalang Topeng Cirebon,” Jurnal Ilmiah Seni Makalangan, vol. 1, no. 2, pp. 25–36, 2014.

[25] R. Widayat, “Krobongan Ruang Sakral Rumah Tradisi Jawa,” Dimensi Interior, vol. 2, no. 1, pp. 1–21, 2004.

[26] R. F. Pratama and E. A. B. Oemar, “Analisis Visual Tokoh Panji Asmorobangun Dan Dewi Sekartaji Wayang Beber Pacitan Melalui Pendekatan Semiotika,” Jurnal Pendidikan Seni Rupa, vol. 4, no. 3, pp. 393–403, 2016.

[27] S. Kusdiwanggo and J. Sumardjo, “Sakuren: Konsep Spasial Sebagai Prasyarat Keselamatan Masyarakat Keselamatan Masyarakat Budaya Padi di Kasepuhan Ciptagelar,” Panggung, vol. 26, no. 3, pp. 309–322, Sep. 2016, doi: 10.26742/panggung.v26i3.194.

[28] E. I. D. Syayekti, “Dari Kanca Wingking hingga Keseimbangan Kosmos: Dinamika Pencitraan Perempuan Jawa di Film Indonesia,” Besari: Journal of Social and Cultural Studies, vol. 1, no. 2, pp. 101–112, Feb. 2024, doi: 10.71155/besari.v1i2.25.

[29] J. M. A. Carrera, “The Symbol of the Mask,” Resistances. Journal of the Philosophy of History, vol. 3, no. 5, p. e21088, May 2022, doi: 10.46652/resistances.v3i5.88.

[30] M. E. Perwitasari and R. Hendariningrum, “Analisis Wacana Kritis Feodalisme Dan Diskriminasi Perempuan Jawa Dalam Novel Gadis Pantai Karya Pramoedya Ananta Toer,” Jurnal Ilmu Komunikasi, vol. 7, no. 3, pp. 212–227, 2009.

[31] S. Subiyantoro, M. Mulyanto, and Y. S. Wijaya, “Peranan Perempuan Dibalik Eksistensi Topeng Klasik dan Kreasi Yang Mendunia: Studi Kasus Desa Wisata Budaya Bobung, Gunung Kidul, Yogyakarta,” Jantra., vol. 15, no. 2, pp. 109–122, Dec. 2020, doi: 10.52829/jantra.v15i2.138.

[32] Y. S. Wijaya, “Nilai Karakter pada Struktur Simbolis Visual Topeng Panji Gaya Yogyakarta,” Gelar : Jurnal Seni Budaya, vol. 18, no. 1, pp. 52–60, Jul. 2020, doi: 10.33153/glr.v18i1.2772.

[33] T. Putraningsih, “Pertunjukan Tari: Sebuah Kajian Perspektif Gender,” Imaji, vol. 4, no. 1, pp. 20–31, Nov. 2015, doi: 10.21831/imaji.v4i1.6699.