The encoded Cirebon mask : materiality, flow, and meaning along Java's Islamic northwest coast
Author(s)
Bibliographic Information
The encoded Cirebon mask : materiality, flow, and meaning along Java's Islamic northwest coast
（Studies on performing arts & literature of the Islamicate world, v. 2）
Brill, c2016
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Note
Includes bibliographical references (p. [305]-337) and index
Description and Table of Contents
Description
In The Encoded Cirebon Mask: Materiality, Flow, and Meaning along Java's Islamic
Northwest Coast, Laurie Margot Ross situates masks and masked dancing in the Cirebon region of Java (Indonesia) as an original expression of Islam. This is a different view from that of many scholars, who argue that canonical prohibitions on fashioning idols and imagery prove that masks are mere relics of indigenous beliefs that Muslim travelers could not eradicate. Making use of archives, oral histories, and the performing objects themselves, Ross traces the mask's trajectory from a popular entertainment in Cirebon-once a portal of global exchange-to a stimulus for establishing a deeper connection to God in late colonial Java, and eventual links to nationalism in post-independence Indonesia.
Table of Contents
Figures, Drawings, Map
Introduction
Part I: Cultural Markers
Chapter 1:
The Pasisir in the Age of Steam, Sail, and the Railway
Chapter 2:
Independence: Registration Cards, Theme Parks, and Topeng Tours
Chapter 3:
Floating Artists on the Circumambulatory Road
Part II: Mystic Travelers
Chapter 4:
Tuning the Body: Dzikir Flows and Sonic Theism
Chapter 5:
Engaging the Body and the Senses
Part III: Objects that Speak
Chapter 6:
Looking Closely: The Iconic Mask
Chapter 7:
Looking Closer: The Inner Face
Chapter 8:
Mapping Tarekat: Performing the Mosque/Grave Complex
Conclusion
Appendix I: The Topeng Cosmology
Appendix II: Fitting Susuk
Glossary
Works Consulted
by "Nielsen BookData"
