Visual Anthropology

Pak Pono, the mask maker
Pak Pono is one of the last great carving masters of topeng mask art in Yogyakarta. He is also an expert choreographer and dance teacher, continuing the family tradition of his late grandfather, Empu Warnowaskito, who made masks for the last three Hamengkubuwono Kings of the Royal Palace (Keraton) of the Yogyakarta Sultanate. He is seen here in the role of the evil King Prabu Klono, archenemy of Prince Panji. Kasongan village, Bantul regency, Yogyakarta.
Ketemu besan
A scene at the Daha Kingdom court before the final scene of the Panji story: the wedding between the Prince Panji and Princess Sekartadji. The stories of Panji’s tumultuous adventures invariably end with recognition of the partners, general rejoicing and a wedding. The theme has often been named as a Javanese Romeo and Juliet saga. Bobung, Wonosari regency, Yogyakarta.
A scene of topeng ngamen
Traditionally, the topeng dance developed and spread amongst the Javanese population through nomadic wandering troupes of artists offering their entertaining repertoire for hire to local patrons wherever they travelled. These roving performances became known colloquially as topeng ngamen. This is how the Panji cycle of stories became popular from the 16th century on to the present. Different from the royal court versions, topeng ngamen is simplified in many technical and choreographic aspects. Very few topeng ngamen troupes survive today. Karangduwet, Wonosari regency, Yogyakarta.
Panji, a portrait of the prince
The Panji stories regale the adventures of the hero Prince Panji in reuniting with his betrothed, Princess Sekartadji. Panji is from the kingdom of Janggala, while Sekartadji is a princess from Daha. Their union is a spiritual symbol of wisdom protecting the power of peace and purity. These kingdoms correspond to historical kingdoms in ancient East Java, which played an important role in the 13th- to 15th-century Majapahit Empire politics. Karangduwet, Wonosari regency, Yogyakarta.
Seasoned dancer
A seasoned dancer dressed as the evil King Prabu Klono, arch-enemy of Prince Panji in the Panji cycle of stories. Klono is the symbolic antithesis of anything related to peace and wisdom. Bobung, Wonosari regency, Yogyakarta.
The battle between Panji and Prabu Klono
Prince Panji faces the evil King Prabu Klono to reach Princess Sekartadji. The scene portrays an important quality of an ideal king, namely that he is ready to keep all evil away from the realm and is capable of restoring order in the world. He is only able to do so after having gone through purification, by preparing to receive the teaching of the tantric path to help him overcome all obstacles in his journey to reach the princess. Bobung, Wonosari regency, Yogyakarta.

diego_zapatero

Diego Zapatero

Diego Zapatero lives in Yogyakarta, the cultural cradle of Java, Indonesia. At the age of 25, he migrated into photographic work from his background as a pianist and composer after a career in marketing administration. He was led progressively towards his passion for cultural exploration, at the same time pushed by a keen interest in Indonesian culture. In his work, he travels Southeast Asia to seek out the most genuine stories to substantiate his photo projects.

www.diegozapatero.com