PEWARISAN TARI TOPENG OLEH WANGI INDRIYA MELALUI SANGGAR MULYA BHAKTI DI INDRAMAYU, JAWA BARAT

The main aim of this research is to know the topeng (mask) dance inheritance methods at Sanggar Mulya Bhakti in Indramayu, with Wangi Indriya as the dalang topeng (mask dance master). Firstly, this research tries to compare between the inheritance methods that was done by Wangi Indriya when she learned topeng dance in the past and what she used to teach at Sanggar Mulya Bhakti in the present day. Secondly, also tries to write the biography of Wangi Indriya as dalang topeng and topeng dance conservator in Indramayu. Finally, this research wants to explore the history background of topeng dance in Indramayu, and explains many kinds of topeng dance and its performance aspects. Topeng dance in Indramayu is a diaspora of topeng dance of Cirebon, which is a development of topeng babakan, a mask dancedrama which performed scene by scene. The topeng babakan performance is a development form of wayang wong or topeng dalang, a dance-drama that perform Ramayana, Mahabharata, Panji, Damarwulan, and other plays. Wangi Indriya is a dalang topeng figure who has modern vision. She is not only a dalang topeng, but a dalang wayang kulit purwa (shadow puppets master), sinden (traditional singer), traditional drama actress, and a contemporary theatre actress as well. Sanggar Mulya Bhakti which established by Taham, Wangi�s father, now holding topeng dance training for about 200 students, and teach five kinds of topeng dance, such as Panji, Pamindo, Rumyang, Tumenggung, and Klana. The topeng dance inheritance process in Sanggar Mulya Bhakti held by combining both traditional and modern methods