73 History of Inheritance of Wayang Topeng Malangan (Malang Traditional Mask Puppet) in Pakisaji and Tumpang Arining Wibowo1, Joko Kurnain2, Juanda Juanda3 1Universitas Kebangsaan, Indonesia 2Institut Seni Budaya Indonesia, Indonesia 3Universitas Komputer Indonesia, Indonesia Submitted: May 5, 2020. Revised: June 9, 2020. Accepted: July 4, 2020 Abstract This study aims to explain the history and process of inheriting mask puppet art in two represent- ative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-dis- trict 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 in- struments, 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 her- mitage 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 col- lege. 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. Keywords: Inheritance; Mask Puppet; Malang; Mangun Dharma; Padepokan Asmoro Bangun How to Cite: Wibowo, A., Kurnain, J., & Juanda, J. (2020). History of Inheritance of Wayang Topeng Malangan (Malang Traditional Mask Puppet) in Pakisaji and Tumpang. Harmonia: Journal of Arts Research And Education, 20(1), 73-83. Harmonia: Journal of Arts Research and Education 20 (1) (2020), 73-83 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i1.24785 dreds of years in the life of the people of Malang through the process of inheritance carried out by artists and hermitages. This traditional art has become its own identi- ty and contains local teaching about mo- ral, philosophical, and historical values. Nevertheless, the preservation of mask puppet art in the city of Malang deserves INTRODUCTION Inheritance (transmitting cultural values) is a hereditary tradition that consi- ders values, beliefs as a matter of necessity and completeness from certain communi- ties (Cahyono, 2006). The art of Wayang Topeng Malangan has developed for hun- Corresponding author: E-mail: cacamarisa90@yahoo.com p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-8374 attention because the number of active hermitages is no longer found. Further- more, the art of Malang mask puppet is no longer widely known by the younger ge- neration in the city of Malang. The youn- ger generation considers traditional art as an ancient thing, some do not even know and have access to mask puppet art (Nir- wana & Setiyati, 2018). Art practices and appreciation activities are limited to only a few groups such as artists, art students, researchers, and cultural observers, wit- hout the support of the community who is the owner. If it relates to the process and model of inheritance of the Malang mask puppet art, Padepokan Asmoro Bangun and Padepokan Mangun Dharma are two good examples. Both these hermitages are still intensively carrying out art practices to aim at bequeathing knowledge and maintaining the preservation of the Ma- lang mask puppet art. John W Berry divides the inheri- tance system into two, namely vertical transmission and horizontal transmission (Rochmat, 2013). Vertical transmission is a hereditary inheritance system, according to Jazuli (2011) that inheritance is a gene- tic process. Horizontal transmission is a system of inheritance through educational institutions, including the hermitage and art studio. Educational institutions can be a medium of inheritance because another meaning of inheritance is the process of transferring the competencies of teachers to students (Jazuli, 2011). Inheritance is the process of transmitting values, beliefs, cultural motives, and especially skills. Ac- cording to Rochmat (2013), the process of inheritance is not only done through lear- ning, but also daily experiences, obser- vations, folk tales, and so on. Inheritance in the Malang mask puppet art of refers to the transmission of skills in the fields of dance, puppetry, mask craft/creation, as well as traditional music. The process of inheritance also transmits knowledge, history, puppet characters, philosophical values, and symbolization. According to Hidayah et al. (2012), cultural inheritance is not only about recording the material as- pects, but also understanding the meaning [art] for members and their communities, the relationship between members, and the relationship between the arts and their supporting communities. The inheritance of art in Padepokan Asmoro Bangun and Mangun Dharma is carried out to transmit the Malang mask puppet art to the family, from one artist to another, and the general public. Suprihatin and Pratamawati (2019) in their research explained that the success of inheritance of Malang shadow puppets oc- curred through routine padepokan activities such as dance training and mask making, compiling promotional media, and expan- ding relations with relevant stakeholders. According to Suprihatin and Pratamawa- ti (2019), these activities made Padepokan Asmoro Bangun one of the four successful hermitages in preserving the art of Malang mask puppet to date. In contrast to what has been reviewed by Suprihatin and Pra- tamawati, this study focuses on the pro- cess and practice of inheritance (vertically) and between artists (horizontally) that oc- cur in Padepokan Asmoro Bangun and Pa- depokan Mangun Dharma. This research aims to explain the role and interests of the heirs of the arts in realizing the success of the preservation of the art of Malang mask puppet. The inheritance model between offspring and between artists carried out by these two padepokan can be an example for padepokan, the arts community, as well as artists to preserve traditional and local arts so that they can last for generations, from generation to generation of artists’ fa- milies. The inheritance model carried out by Padepokan Asmoro Bangun and Man- gun Dharma also shows that collaboration between padepokan and artists is a vital fac- tor in the preservation of traditional arts. METHOD This research is a type of qualitative research using data collection techniques through interviews, observations, and do- cument studies. The object of research in this paper is two padepokan, namely Pa- Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 75 depokan Asmoro Bangun in Pakisaji sub- district and Padepokan Mangun Dharma in Tumpang sub-district. Interviews were conducted with two padepokan leaders na- mely Tri Handoyo and Soleh Adi Pramo- no, along with several family members from the two padepokan. The process of interviewing, observing, and studying do- cuments periodically had been conducted from September 2017-May 2020. Data col- lection techniques through observation are carried out through participation in art activities in both schools such as perfor- mances, exhibitions, seminars, workshops, or discussions. The document study was carried out by searching for written sour- ces both through the personal library of the interviewees and the public library, to complete the research data and become a secondary data source in this study. RESULT AND DISCUSSION Two representative padepokan in the development and preservation of traditio- nal arts, including Wayang Topeng Ma- langan, namely Padepokan Asmoro Ban- gun in Pakisaji and Padepokan Mangun Dharma in Tumpang. In 1930-1960, there were more than 220 art groups in the city of Malang, but only a few have survived to this day. Through the presentation of inheritance and history from Padepokan Asmoro Bangun and Padepokan Mangun Dharma, it can be assumed that the success of the process has an impact on the sustai- nability of the arts. Two patterns of inhe- ritance, namely vertical (in descendants/ family) and horizontal (between artists), carried out by Padepokan Asmoro Bangun and Padepokan Mangun Dharma over the past few decades have made these two pa- depokan still standing and actively contri- buting to the development and preserva- tion of traditional art in Malang, especially the mask puppet. Padepokan Asmoro Bangun is loca- ted in the Kedungmonggo hamlet in the Karangpandan village of Pakisaji sub- district, Malang. The name of the hermi- tage is taken from the name of the most central figure of mask puppet, Panji Asmo- robangun. The Padepokan Asmoro Ban- gun arts group started from the generati- on of Serun with the name Pandawa Lima in 1880-1917. In Hidayat’s writings (2008), it is explained that Serun learned the Ma- lang mask puppet art from his uncle na- med Gurawan when he was in Bangeran plantation area in the Wijiombo region, Gunung Kawi. Whereas Gurawan stu- died Malang mask puppet directly from Mbah Reni in Polowijen village, known as Malang mask maestro. Kusdewanti et al. (2014) mentioned in her writings that Se- run who came from Kedungmonggo was a student of Gurawan’s. Serun was the one who brought the Mlangan mask puppet art to the Kedungmonggo hamlet in Ka- rangpandan village, Pakisaji sub-district, Malang. This family has an important role in making mask puppets a part of folk art and for generations to maintain the conti- nuity of the Malngan mask puppet art in Pakisaji sub-district. Serun’s leadership was bequeathed to his son named Kiman after Serun pas- sed away in 1930. Kiman was better kno- wn as Pak Pario (Mr. Pario) and during his leadership, his cousin named Rasimen un- til 1980 was known as a puppeteer whose abilities were recognized with clear, loud, and unique vocal characteristics, so that the Malang mask puppet performance in the era of Kiman and Rasimen was always lively (Hidayat, 2008). During Kiman’s leadership, this art group was known as ‘Garuda Ngarep’ and had many followers even from other cities such as Pasuruan, Probolinggo, and Lumajang. Kiman’s son, Parijo (known as Karimun) was known to be very serious in learning Malang mask puppet and began to learn to dance since 1933 (Safarudin, 2013). Afterward, the leadership of the arts group was then led by Karimun, Taslan Harsono, and Tri Handoyo as the third, fourth, and fifth family heirs. This family art group is known by the name Padepo- kan Seni Asmoro Bangun since the third leadership period, Karimun, also changed not only to the art group that performed Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-8376 the Malang mask puppet show, but also craftsmen or mask artists since that time. Padepokan Asmoro Bangun has been pas- sed down for five generations concerning the Malang mask puppet show and three generations concerning mask crafts. Pre- sented by Balok Safarudin (interview on 22 April 2018), Karimun was known for his seriousness in learning Malang mask puppet. Karimun has never missed the mask puppet learning from Malang sin- ce he was a child, although the other stu- dents were adults. Karimun studied not only dancing but also masterminding and carving masks. During Karimun’s leader- ship, this art group began to be known as Padepokan Asmoro Bangun and ma- naged to hold performances even outside the city such as Pasuruan, Probolinggo, Lumajang, Situbondo, and generally in villages in Malang. Despite many obstac- les, Karimun and his son, Taslan Harsono diligently maintained the existence of the Malang mask puppet. Both of them did a lot of fixing dance material and carving art (sculpture). In this era, not only artists were ac- tive in learning the Malang mask puppet, but each art group was interrelated and related to one another (Hidayat, 2005). Ar- tists in this era learned the Malang mask puppet directly from the teachers they wanted, for example, Kangsen from Ja- bung studied the Malang mask puppet from Tirtowinoto (Supriyanto & Pramono, 1997), Chattam AR, known as the mask puppet artist learned from Karimun and Kangsen (Hidayat, 2005), Sujopo (inter- view 7 April 2018) explained the learning process from Karimun in Kedungmonggo and also in Glagahdowo. In that era, accor- ding to him, artists were interconnected with each other and generally, students came to the hermitage and the place whe- re their teacher lived to learn the Malang mask puppet. Inheritance of the Malang mask puppet through a good family sys- tem refers to two things, namely the family in terms of heredity and family in the sen- se of being part of a large community that lives in one area and the owner of the Ma- lang mask puppet art. The inheritance of the Malang mask puppet through descent occurs in every art group such as that in the Padepokan Asmoro Bangun family in Kedungmonggo or Padepokan Mangund- harma in Glagahdowo, and other hermita- ges in Malang. As the fourth heir of this family, Tas- lan Harsono died first in 1992 due to illness while Karimun as the third heir died in 2010. The leadership of Padepokan Asmo- ro Bangun which was officially established in 1982 was later taken over by Tri Hando- yo and his brother named Suroso although, at the time, only Tri Handoyo was directly and officially held. In both the leadership of padepokan and other activities, family members such as wife, children, nieces, sisters, and brother-in-law of Tri Handoyo actively participated in dancing, teaching dance, becoming pengrawit, and as a crafts- man in masks. Inheritance through genera- tions in the family has become a habit and is considered to have its privileges. Based on the story that is commonly known by this family, explained by Bayu (interview on 29 September 2017) that at first, Tri Han- doyo did not have the desire to inherit the leadership of Padepokan Asmoro Bangun. However, in the end, Tri Handoyo felt that the inheritance of the Malang mask puppet and mask craft had become an obligation for the descendants of this family. Tri Han- doyo leads Padepokan Asmoro Bangun and participates in many events both at home and abroad to preserve and develop Malang mask puppet. The inheritance of Malang mask puppet and the family mask crafts was done on not to the eldest son or daughter but to offspring who were considered to have the dedication and desire to main- tain Padepokan Asmoro Bangun. Tri Han- doyo himself is the second son of Taslan Harsono. In his childhood, Handoyo often ran away from the learning of his grand- father Karimun but in the current era cho- se to quit his permanent job and dedicate his life to Padepokan Asmoro Bangun and Malang mask puppet. While Suroso cho- se to become a civil servant and was not Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 77 directly involved in the leadership of Pa- depokan Asmoro Bangun. As having been done from generation to generation, the inheritance of Padepokan Asmoro Ban- gun, Malang mask puppet, and the fami- ly mask crafts will also be done on to the two daughters of Tri Handoyo. Tri Han- doyo and Saini have two daughters who are actively involved in Padepokan Asmo- ro Bangun’s activities. Tri Handoyo’s two daughters are named Winnie Padnecwara (15 years) and Dita Andhika Raja Padmi (12 years). Dita, especially as the youn- gest daughter is considered to have a st- rong desire to inherit the leadership of Tri Handoyo. Saini said (interview on 30 Sep- tember 2017) that her youngest daughter from childhood until now has a desire to inherit what her parents have done and is even considered to have excellent dancing skills. The two daughters of Tri Handoyo and Saini actively participated in the mask puppet performance in Malang on a regio- nal, national, and international scale and also participated in dance training con- ducted at Padepokan Asmoro Bangun on children in the neighbourhood of padepokan and tourists or visitors who came. It was stated by Winnie Padnecwara (interview on 29 May 2018) that the learning of dan- cing and Malang mask puppet was carried out from 3.5 years old while Dita Andhika Raja Padmi started at the age of 5 years. Winnie said that the interest in the shadow puppet mask was due to seeing what was done by parents especially Tri Hando- yo, while according to Dita (interview on May 29, 2018), many friends learned Ma- lang mask puppet, or more precisely dan- cing mask in Padepokan Asmoro Bangun also motivate him to study Malang mask puppet more diligently. Besides, the factor that almost all family members are dancers and performers of Malang mask puppet art also motivated the learning process of Tri Handoyo’s two daughters. In additi- on to Tri Handoyo and Saini, other family members such as their uncles and aunts or children also actively become mask puppet performers in Padepokan Asmoro Bangun. Yati and Edi Wibowo, for examp- le, are the younger siblings of Tri Handoyo who work in making masks or Bayu who are the nephews of Tri Handoyo who are active as pengrawit in Malang mask puppet performances in Malang. Winnie Padnec- wara and Dita Andhika Raja Padmi are the sixth heirs of this family who are also the first female heirs to lead Padepokan Asmo- ro Bangun in the future. Mask puppets are known as traditional arts which in the past were exclusively occupied only by men so that the inheritance of Winnie Padnecwa- ra and Dita Andika Raja Padmi who are women is a crucial step and challenges the tradition of Padepokan Asmoro Bangun. Although it has been passed down from generation to generation and can be said to be successful until the sixth ge- neration, the inheritance of the Malang mask puppet art in Padepokan Asmoro Bangun to Winnie Padnecwara and Dita Andika Raja Padmi has not been finished. The learning and inheritance process runs throughout the lives of these young artists, especially when it comes to Malang mask puppet which requires mastery not only in dance, but also puppetry, the ability to make masks and play music. The puppe- teer is considered as the central figure of the show leader and the arts community, the musical accompaniment is a repre- sentation of prayer, while the mask is the spiritual and most sacred point in Ma- lang mask puppet. So, the heirs of this art should master each of these fields as being done by generations before them. Howe- ver, both Winnie (15) and Dita (12) are still at a relatively young age to master the en- tire field of the Malang mask puppet, so the process of inheritance to the two from the dance field. Moreover, in Malang mask puppet, it is required for artists in sharp- ness and mental processing called waskito (Melany & Nirwana, 2016). So that the in- heritance of the Malang mask puppet art in Padepokan Asmoro Bangun is a lifelong process. The inheritance of the Malang mask puppet performed by Padepokan Asmoro Bangun towards their family or descen- Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-8378 dants not only emphasizes the ability as an artist but also the attitudes that must be inherited by the heirs of the Malang mask puppet. Based on the results of an interview with Dita (June 29, 2018) that the desire to teach and maintain the conti- nuity of the Malang mask puppet is done with no strings attached and without even benefiting materially. The Malang puppet heirs are considered to be ready to provide learning wherever they are asked whether with or without financial benefits. Padepo- kan Asmoro Bangun has experienced six times of hereditary inheritance. The heirs of the Malang mask puppet art from Pade- pokan Mangun Dharma from time to time dedicated themselves to the development of these traditional arts. So, when talking about mask puppet, Padepokan Asmo- ro Bangun is one of the representative art communities from Malang who has suc- ceeded in carrying out the process of inhe- ritance to date. In addition to the hermita- ge named and built by Karimun in 1982, another hermitage in Tumpang named Pa- depokan Mangun Dharma is also another representative of the Malang mask puppet art. Padepokan Mangun Dharma is loca- ted on the slope of Mount Bromo in Tulus Besar village, Tumpang District, establis- hed under the name ‘Mangun Dharma’, taken from the name of the street where the padepokan was built in 1989. Padepokan Mangun Dharma is home to a variety of Malang traditional arts, but Malang mask puppet is an icon and the main material of this hermitage (Jannah & Yanuarti, 2019). Padepokan Mangun Dharma is known for providing non-formal arts education to prospective artists who come from fami- lies, surrounding communities, students from outside Malang, to foreign countries. The Panji Festival annual event was held at Padepokan Mangun Dharma in 2001 (interview on 8 February 2019), which was an initiation in maintaining the continuity of the Panji culture and its arts. Padepokan Mangun Dharma then from year to year represents the city of Malang as a parti- cipant of the Panji Festival which is also followed by several regions such as Pasu- ruan, Kediri, Blitar, Tulungagung, Yogja- karta, Jakarta, as well as from representa- tives of other countries such as Thailand and Myanmar. Based on the results of an interview with Soleh Adi Pramono (May 10, 2020), the era of the art community of the Padepo- kan Mangun Dharma family began in 1800 by the great-grandfather of the puppeteer Soleh Adi Pramono named Kek Sainten (Grandpa Sainten). Kek Sainten establis- hed a padepokan named Padepokan Mangir because it was located in the Mangir gorge in Kemulan hamlet of Tulusbesar village, Tumpang sub-district. The return of the puppeteer Soleh to the Tumpang area and establishing Padepokan Mangun Dharma can be considered as returning to the place where his ancestors devoted themselves to the arts in the Tumpang area. Kek Sainten has been involved in traditional arts sin- ce the leadership of RAA Surya Adinin- grat who is known for his support of the Malang mask puppet art and Mbah Reni (Grandma Reni), a prominent and res- pected mask artist in the Polowijen area. Kek Sainten learned the art from Ki Abu- nawas in Bunder village. The son of Kek Sainten named Gartam had a community of Mask Puppet continuing the dedication of his parents. Gartam then became the regent of Ma- lang and obliged each village to foster the Malang mask puppet activities. Gartam’s efforts paid off within 1820 there were ap- proximately 220 art groups throughout The Greater Malang. The district emplo- yees also received mask dance training. In 1911, Kek Sainten’s son, Kik Roesman, continued the leadership of Padepokan Tuluayu. Through the dedication of Kik Roesman, Malang mask puppet art began to spread in the area of East Malang to the Tengger mountains. In the Tengger area, Malang mask puppet plays a substitute for the Mahabarata and Ramayana stories. According to Pramono (2014: 99-100), the mountainous area must not perform wa- yang kulit (shadow puppet) because sha- dow puppet actors are taken from Rama- Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 79 yana and Mahabaratha which will feature figures of Pandavas gods and ancestors who must be worshiped, then the role of ruwatan media of shadow puppet is repla- ced with media of shadow puppets with Panji actors. Malang maks puppet with the background of the Panji story was held in Upacara Sedekah Bumi, Ujar Kaul, and Ru- watan Lakon Jagad Gumelar. The spread of the Panji story took place in the Tengger area such as Wanakersa, Ledhok Amba Kedhampul, Dhuwet, and Gubuk Klakah which contained the Pabanyola Inscription issued by Kadewangurwan in Madhalan, Pajar village. Malang Mask Puppets are also scattered in the Ngarai Valley such as Nggedhok Codho, Jambesari, Karan- ganyar, Kidhal, Glagahdowo, Tamiajeng, Jabung, and other areas. In 1928-1935, Kik Roesman’s son Tirtowinoto took over the leadership of Padepokan Tuluayu. Tirtowinoto played a major role in the dissemination and pre- servation of the Malang mask puppet in East Malang and was later called by the Konsevatori Karawitan Indonesia (Indo- nesian Karawitan Conservatory) in Sura- baya and provided dance, Karawitan, Iringangan, and Pedhalangan Wayang Topeng Malangan (Malang mask puppet performance). Surabaya then has the Ma- lang Mask Puppet Competency Standards, which is one of the contributions of Tirto- winoto, the uncle of the puppeteer Soleh Adi Pramono. Precisely, in 1935, Padepo- kan Tuluayu was replaced by Padepokan Pencak Silat and Mocopat Malangan, led by Tirtowinoto’s younger brother, Sapari. In 1984, Sapari’s son, the puppeteer Soleh Adi Pramono, built a new hermitage. The padepokan built by the puppeteer Soleh Adi Pramono is the third hermitage of this family. The puppeteer Soleh also owns the Malang Mask Puppet Association named Wiruncana Mocopat Ndarumulya in Gla- gahdowo. This Padepokan named Pade- pokan Mangun Dharma which is located on Jln. Raya Mangun Darmo No.8 Rt/Rw 28/03 Kemulan hamlet, Tulusbesar villa- ge, Tumpang sub-district, Malang. Pade- pokan Mangun Dharma consists of several units, namely: (1) Malang Dance Unit; (2) Wiruncana WTM Unit; (3) Parijati Peda- ling Unit; (4) Ndarumulya Mocopat Unit; (5) Kerawitan Unit; (6) Turonggokusumo Jaran Kepang Unit; (7) Banthengan Hand- hokomulyo Art Unit; (8) Mask Craft Unit; (9) Shadow Puppet Craft; (10) Fashion and Makeup Unit (interview on 10 May 2020). Until now, Padepokan Mangun Dharma is led by the puppeteer Soleh Adi Pramono with the help of his son and the heir na- med Supriyono Hadi Prasetyo. Looking at the pedigree of the puppe- teer family, Soleh Adi Pramono shows that the heirs of this family spread the arts to several regions in The Greater Malang. The puppeteer Soleh decided to return to Tumpang and established Padepokan Mangun Dharma because it coincided with the Tumpang area which was plan- ning the formation of the Semeru Bromo Tengger National Park Tourism Working Group. Kemulan hamlet is right between Jago Temple and Gunung Tabor Tumpang Tourism lodging as SBT National Park Transit Tourism. Mask puppet was held as an art performance that was presented. Until the year 2000, Tulusbesar village re- ceived the Cultural Arts Tourism Village Award. This has encouraged many mask dance students to come both from within and outside the country. Besides, another personal reason that the Kemulan hamlet is the origin of the puppeteer Soleh’s fat- her, Sapari. The puppeteer Soleh said that the construction of Padepokan Mangun Dhar- ma was a calling of the soul and continued the mandate in continuing the socializati- on of Wayang Topeng Malangan, Wayang Kulit, and Mocopat Malangan. As a des- cendant of the puppeteer, Soleh Adi Pra- mono holds the status of a true puppeteer and has an honorable status in the com- munity and the local artist community of Malang. The puppeteer Soleh (interview on 8 February 2019) explained that sta- tus as a true puppeteer gives the right to hold ruwatan (ceremony to reject disaster). This was inherited by the puppeteer Soleh from his uncle Tirtowinoto who was kno- Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-8380 wn and believed to be the puppeteer. In his time, Tirtowinoto was the main choice in holding a ruwatan ceremony (Hidayat, 2019). In the eyes of the puppeteer Soleh, Ki Roesman and his uncle Tirtowinoto are artists who aspire to the return of Malang mask puppet in their fostered areas. Ma- lang mask puppet suffered a setback and gradually disappeared from 1945 until its peak stopped in 1965. In 1976, the govern- ment began to revive Malang mask puppet and one of the students from Tirtowinoto named AM Munardi, a teacher at Suraba- ya High School took part contribute to this effort. In 1972 after graduating from high school, the puppeteer Soleh studied at KONRI (Conservatory Karawitan Indo- nesia). The puppeteer Soleh worked as an employee of the Kasi Culture technical staff, Ministry of Education and Culture Malang in 1975-1979. In 1979, the puppe- teer Soleh then majored in dance at the Yogyakarta Art Institute and graduated as a dance graduate in 1984. The puppe- teer Soleh also studied the Malang mask puppet art in several prominent artists and puppeteers in Malang following his uncle Tirtowinoto, Mbah Karimun (Kedung- monggo), Mbah Samoed, Mbah Rasimun, Mbah Kimun, and Mbah Jakimen. The puppeteer Soleh (interview on 8 February 2019) also said that he studied art in Ma- dura by occasionally quoting some songs in Madurese when he was met at his place. The puppeteer Soleh had been a lecturer at IKIP Malang (now Malang State Universi- ty/UM) in 1984-1992. The puppeteer Soleh decided to stop teaching formally at IKIP Malang in 1992 and preferred to pursue his activities as an artist. It was stated in his profile in the book Drama Tari Wayang Topeng Malang (1997) that the puppeteer Soleh also fostered foreign students from Japan and America in collaboration with Merdeka University of Malang who was studying the Malang tradition art. Supriyono Hadi Prasetyo is the next heir of the arts from the puppeteer fa- mily Soleh. In an interview (February 8, 2019), the puppeteer Soleh mentioned that Supriyono Hadi Prasetyo, his eldest son was a partner in running Padepokan Man- gun Dharma. The puppeteer Soleh and his son had a lot of discussions, wrote books together, and put on shows. Supriyono studied art from an early age of three yea- rs. Supriyono deals with art as a descen- dant of artists and vocations, (interview on 10 May 2020). Actively and routinely, Supriyono watched the performance of the Malang mask puppet and then practiced the results of his learning. The self-taught learning from the puppeteer Soleh and ot- her artists was then continued by Supriyo- no through formal education by majoring in Pedalangan. Nevertheless, puppetry is not the only field occupied by Supriyono Hadi Prasetyo, but also in the fields of dan- ce, music, macapat, drawing, and singing. However, the inheritance of mastermin- ding skills learned by Supriyono was self- taught and formally marked the success of Padepokan Mangun Dharma in pas- sing down every element of Malang mask puppet to the descendants/family. As said by the puppeteer Soleh, Supriyono Hadi Prasetyo is not only an heir to the family arts but a partner in running and preser- ving the traditional arts of Malang. The puppeteer Soleh Adi Pramo- no not only succeeded in the process of inheriting art in a lineage. Together with Supriyono Hadi Prasetyo, Padepokan Mangun Dharma contributed to the inheri- tance of traditional art on the general pub- lic. According to the puppeteer Soleh, Pa- depokan Mangun Dharma (interview on 5 May 2020) called students from prominent artists such as Kek Tirtowinoto, Mr. Gi- mun, Mr. Rasimun, Mr. Djakimin to provi- de learning to male/female students. The term cantrik/mantrik for students who stu- dy traditional art in Padepokan Mangun Dharma follows the term nyantrik, which is the tradition of traditional art learning in Indonesia (Martono, 2011). The process of inheritance in the community is imple- mented through activities such as the Indo- nesian tour which is funded directly by the provincial government of East Java, and the City and Regency Arts Council of Ma- Arining Wibowo et al., History of Inheritance of Wayang Topeng Malangan (Malang Tradi- 81 lang. The process of inheritance is also car- ried out through mass dance performances played by school children, giving work- shops and lectures to artists, government, KNPI, scouts, dance studios, and art/dan- ce teachers. Various other activities such as the writing of a book about the puppets of Wayang Topeng Malangan, Wayang Kulit, Manten Malang, and Karawitan Malang. Even Padepokan Mangun Dharma routi- nely provides training in making masks and dances for school children both from domestic and abroad. Activities promo- ting the mask museum were also carried out in Indonesia, Los Angeles, America, and Australia. Every year, many students from Australia come to Padepokan Man- gun Dharma to learn about Malang Mask. The inheritance process is not only carried out by the main family of the puppeteer Soleh Adi Pramono, but also a large part of this family. These processes are assisted by Soleh’s sister named Tu- riani who has a Tarib and Karawitan Stu- dio in the Tumpang area, and a younger brother named Djumikarah who runs the Ganesha Bokor Mudra Studio in Turen, Malang. The process of inheritance aimed at preserving and maintaining traditional arts is the mission and great dedication of the puppeteer family of Soleh Adi Pramo- no. Every month, a dialogue called “Bu- daya Tunggul Wulung Malang”, Cultural Dialogue at Cafe Mesem and Tumpang Gallery. Dance, karawitan, and traditional music performances are held to increase the mask mascot network throughout In- donesia. Padepokan Mangun Dharma also provides performing arts services both at home and abroad. Students often come to Padepokan Mangun Dharma to conduct guidance and study assignments. Accor- ding to The puppeteer Soleh, through TV Panji which was worked on by Semar Su- wito Surabaya, art appreciation activities by the young generation are more likely to occur. These activities are the embodiment of the horizontal inheritance process car- ried out between artists, as well as the public. Both Padepokan Mangun Dhar- ma in Tumpang and Padepokan Asmoro Bangun in Pakisaji have succeeded in car- rying out the process of hereditary vertical inheritance in the family, as evidenced by the existence of the heirs and the mainte- nance of traditional art practices to date. Between the two padepokan, there is coope- ration, mainly according to the puppeteer Soleh as a form of interaction between the padepokan that their ancestors left behind. The puppeteer Soleh Adi Pramono him- self is a student of Mbah Karimun, foun- der of Padepokan Asmoro Bangun. Each hermitage must work hand in hand in the process of the inheritance for the pre- servation of Malang’s traditional arts. In 2001, all hermitages in the Greater Malang recorded a video about the Malang mask puppet as a form of documentation. In 2000-2005, for example, Padepokan Man- gun Dharma annually invited groups of associations to give periodic performances on every Sunday. However, the activities were considered useful in generating spi- rit, togetherness, and motivation to advan- ce each group stopped after five years due to limited funds. Inheritance efforts among hermitages, artists, and trainers are also carried out through the issuance of gui- dance books on mendalang, karawitan, dan- ce, gendhing, costume arrangement, and so on. Dance, karawitan, mask-making lessons were also carried out. Padepokan Mangun Dharma also contributed to the production of plays, gendhing, vocals, and role charac- teristics, as well as the instructor’s media in the form of a script that must be un- derstood by the casts in the Malang mask puppet. This activity was supported by Malang State University, Department of Dance, and other Arts Colleges in Indone- sia through workshops, discussions, and Mask Culture interaction visits. However, said by the puppeteer Soleh (interview on 5 May 2020) that the challenges faced by artists and hermita- ges lie in the lack of script bank writing, as well as the recruitment or number of viewers who love the performance and art of Malang mask puppet. Furthermore, the government is considered to be half-me- Harmonia: Journal of Arts Research and Education 20 (1) (2020): 73-8382 asures in support of fostering, especially in old artists and art groups. This causes no promotion given to these artists and art groups. The government is still too focus- ed on schools and art galleries. Appreciati- on of the government in the Malang mask puppet was still small, exemplified by their absence in meeting the invitation of artists or hermitage. According to the puppeteer Soleh, in the future, Padepokan Mangun Dharma plans to provide WTM Learning and Performing Practices (through the so- lid and concise work performance and can be accounted for in terms of its artistic/ae- sthetic). Padepokan Mangun Dharma will offer the claim to the art teachers and art community found in the school. Padepokan Mangun Dharma in Tumpang and Padepokan Asmoro Ban- gun in Pakisaji are two examples of two successful hermits in the process of inhe- riting the Malang mask puppet. Both the- se hermitages become a historical part of the development of Malangs traditional arts, specifically Wayang Topeng (mask puppet). CONCLUSION The history of the inheritance of mask puppet traditional art performed by Padepokan Asmoro Bangun in Pakisaji and Padepokan Mangun Dharma in Tum- pang marked the long journey by artists and their families to dedicate life to local arts and culture. The calling of the soul, as a descendant of artists, gives children rea- son and motivation in pursuing traditional art. Generally, children know and learn the art from an early age, between 3-5 years so that vertical inheritance is successful. In the horizontal inheritance process carried out between artists and public, the whole family member participates to realize the goal of preserving traditional art. In the process of vertical inheritance, artists/pa- depokan focus their offspring on elements of art such as dance, puppetry, karawitan, music, macapat, etc. Their sons/daughters are not only self-taught in mastering the practice of art, but also set attitudes and knowledge that reflect the noble values of traditional art. In the process of horizontal inheritance, artists strengthen cooperation and toget- herness with the same standards and go- als. Padepokan plans ways and media to inherit the public, using both technology media and traditional methods. Padepokan expects cooperation with the government, educational institutions, researchers, ob- servers of arts and culture in the process of inheritance. Although showing a simi- lar inheritance model, Padepokan Asmoro Bangun and Padepokan Mangun Dharma show one difference. 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