It is not an exaggeration to state that Topeng Pajegan is the most demanding mask performance for an actor to stage. The distinguishing feature of Topeng Pajegan is that it is a monodrama in which a single dancer tells a story by portraying a succession of masked characters. With the help of a few simple theatrical conventions, the solo performer of Topeng Pajegan is able to tell a complicated and engrossing story single-handedly.

Topeng Pajegan is not an entirely secular performance which is devoted solely for the entertainment of the audience but it contains a ritual portion similar to the sacred dances which are performed only in the inner courtyard of the temple. The ritual portion is not integrated with the story performed by the dancer but is reserved for the end. In the sense that the ritual portion is the most important one and the secular portion of the performance is a prologue to ritual portion. At the end regardless of what story has been presented, a strange white-faced, buck-toothed, smiling character with long, wild hair comes to the stage. His name is Sidakarya which means ‘he who succeed in all task’. Only when he wears this mask, the dancer serves a specifically priestly function to pray for the success of a ceremony.

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Pakang Raras who was about fourteen years old, was flying kites one day with his attendants, Punta and Wijil, when the string broke and they lost their way in the forest. They were driven by a great storm to take shelter in the palace gardens of Daha, where the king’s young daughter was bathing in a pool. She took Pakang Raras home with her and became her page. He taught her to play the gamelan and she took a great fancy to the charming youth, and gave him fine clothes and a kris.

They used to sing Kekawin together about Arjuna and Suprabha, and one day after she had gone to her own room to rest, Pakang Raras followed her and made love to her. After that he went in everyday. And they exchange gift of flowers. But one day her maid Bajan saw him and told the King, who ordered his patih to take Pakang Raras away and kill him. When he was told that he must go at once with the patih to Blambangan, Pakang Raras knew that he was going to be put out of the way and asked leave to go and change his clothes for the journey.

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Sri Darmapuja, King of Jodyanegara, had a beautiful daughter named Rajaputri. One day she was looking out the watch-tower when she saw an incredibly beautiful youth standing among the crowd. She was so enchanted by his beauty that she sent her maid Warsiki to find out who he was. It appeared that he was the headman’s son, and his name was Ragu. The princess fell madly in love with him and would neither eat nor drink. At last she could bear it no longer, and sent Warsiki to tell him he must come to her that every night. Ragu obeyed, and they passed a rapturous night together. Every night he came to her, till one day he was seen by another maid-servant, who told the king what was going on.

The king was furious. He called the headman and priest together, and debated with them how Ragu should be punished. Most of them were opinion that he should be thrown into the sea, according to ancient custom. But one priest said that would be too quick and easy death, and advised sending him away in search of “the horned elephant fish with pig’s feet”.

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Gambuh, a classic dance drama that now is in the edge of extinction, is considered as the ancestor of all Balinese dances. All dance-technique originates in its movement, all scales and melodies from its peculiar gamelan. It is so rare that a Balinese may never see a gambuh performance throughout his life.

The origin of gambuh can be traced back to 1007 A.D. the first mention of gambuh appears in a lontar, palm leave manuscript, with a Candra Sengkala (a method of expressing time), in the year of 929 Caka or 1007 A.D. This lontar mentions that in 1007 A.D. King Udayana Warmadewa of Bali had married a Javanese princess from Daha, east Java, named Cri Gunapriya Dharmapatni. When the princess went to Bali, in her entourage she brought Javanese dancers and artist with her. According to the lontar, King Udayana was very fond of Javanese dancing and in this period developed the dance known as gambuh, here is an excerpt from the lontar:

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