The present tradition of Wayang Topeng dance/drama in Bali seems to go back to the 17th Century, when I Gusti Ngurah Jelantik Tusan is reported to have used masks captured from East Java by a force led by his ancestor a century earlier. While the tales used in the repertoire range chronologically from the defeat of Detya Mayadanawa by the gods under Indra to the mass death by suicide of the court at Denpasar in 1906, most topeng stories are drawn from the Babad Dalem, or Chronicles of the Kings, as recorded on palm leaf manuscripts; these stories detail the struggles of the Majapahit Empire (which came to include Bali in 1343) and the troubled history of the later Balinese princely states as they vied with each other for dominance. There is no standard set of masks for Topeng, but the masks presented here are a possible combination that could be owned by a dancer and could be adapted to serve any number of stories within the repertoire.

In the oldest form of Balinese Topeng (Topeng Pajegan), one man portrays all the characters – alternating full masks used for dancing with half-masks or masks otherwise specifically created to allow for improvised story-telling and commentary. This one-man form is exemplary of the Upanishadic principle of Tat Twam Asi (Thou Art That), holding that the microcosmos of the individual contains all that exists within the macrocosmos – a principle that remains important in the beliefs and practices of Balinese Hinduism. Topeng pajegan is commonly presented at temple anniversaries (odalan) and at the life cycle events celebrated by Balinese families, such as tooth filings, marriages, and cremation ceremonies. These relatively more sacred performances end with a public offering prepared during the performance by a Priest and presented by the performer in the mask of Sidha Karya (He Who Makes the Ceremony Complete) for the benefit of the family or village. Near the start of the 20th century, it became more common to present Topeng with troupes of players, allowing characters to interact more immediately with each other. This development encouraged extensive comic by-play among the performers, as well as more theatrical depictions of battles and dramatic confrontations. Though it may also be presented as an entertainment for men and gods at temple festivals, the company forms of Topeng (Topeng Panca and Prembon) are considered less sacred and do not involve the appearance of Sidha Karya or a public ritual blessing at its conclusion.

A topeng performance begins with a series of from two to four introductory dances having no necessary direct relationship to the story that will follow. These dances – the pengelembar – serve to introduce the world of the chronicle tales, to generate a sense of excitement, and to act as a showcase for the virtuosity of the dancer or dancers. The story of a Topeng performance is introduced, framed, and commented upon by servant characters (Penasar) who improvise Kawi (Old Javanese) dialogue for the principal characters and translate the meaning and import of that dialogue to the audience. The masks used for these characters fit the face in such a way as to allow free movement of the lower jaw. Most of the principal characters of the story appear in masks that cover almost the entire face of the dancer/actor. Near the end of the story, a series of comic Bondres masks emerge. These eccentric, humorous masks can be highly individual: every performer has a small stock of them and frequently the performers help in their design. Like the Penasar masks, these are so cut as to allow free movement of the lower jaw or are otherwise designed for easier speaking.

Topeng masks are carved from the relatively soft but durable wood of the Puleh tree (alstonia scholaris) by expert craftsmen, many of whom are also dancers and musicians. Although the demand for masks by tourists has encouraged short cuts in carving and the use of acrylic paints, most of the masks made for performers -- and all of he masks shown here -- are still colored with warna Bali: pigment paints, painstakingly ground from bone, roots, and other natural sources by the mask-maker or his apprentices and then applied in multiple coats, involving sanding and repainting as many as 50 times. The masks in this exhibit are made by some of Bali's finest mask makers. They and their teachers before them – the most outstanding artists of the previous generations – are drawn from all of Bali's four traditional caste divisions of brahmana, satriya, wesia, and sudra.