widows, and the mask of Rangda is used
for a material revelation of a deity in its angry state, for Giriputri
wife of Civa, for Ravana or the rakshasa husband of Surpanaklia, for
the magical transformation of Basoer in the play of that name, for
Durga, Goddess of Death, or for any monstrous apparition when a special
mask is lacking; as in another Topeng play, for the swine's head of
the king of Bedoeloe, or for the White Elephant in the Gamboeh story
of Amad Mohamad as well as for Tjalonarang and all other witches.
The stage representation of Rangda is no less fearful than her sculptured
image in the Poera Dalem. The glistening white mask, with golden brow,
immense protruding eyes, and huge white teeth and fangs that curve
upwards to her forehead, is an object of terror and also of veneration.
Like the Barong mask it lives in the temple, in a basket raised above
the ground. There may be two or even as many as five Rangda masks
which are worn by the different degrees of manifestation of her being.
The mask is furnished with long, ingeniously woven tresses of goat's
hair, white or mottled, which hang from a great bushy wig to the ground,
completely covering her back, and falling over the thin sausage-like
entrails, red, black and white, which hang between her pendulous breasts.
Sometimes the breasts are flat, dangling pockets with a little hair
attached, and a button to represent the nipple. A long tongue of black
or scarlet cloth, with flame-shaped ornaments of gold and scarlet
leather, hangs from her gaping jaws. Flames ray from her mouth and
head to symbolize the consuming fire which issues from her. Her legs
and arms are covered in striped red and black stuff, edged with shaggy
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