When man integrates himself imaginatively within a wider scope and he enjoys it, he will become part of the life he does. The Panji Mask Dance can be seen as a symbol of moral righteousness, not as a subordinate and servant of sensual pleasures. It is not only valuable in itself but also an external value that can be traced from various points of view ,
Thus it can be presumed that this Cirebon mask was already popular in the Majapahit era between 1300 and 1400 AD. Searching for the philosophical basis of this dance must be returned to the Hindu-Buddhist-Javanese belief system of the Majapahit era. But why arrived at the Cirebon Palace? After the fall of the Majapahit kingdom (1525), this dance was apparently revived by the Sultans of Demak who probably admired this dance or really needed it within the framework of a concept of power that remained spiritual. In the chronicle it is told that Raden Patah danced the Klana at the foot of Mount Lawu in the presence of the King of Majapahit, Brawijaya. This actually proves that the Cirebon Mask is closely related to the Javanese concept of power. That only a powerful king could dance to this mask, is shown by the babad, which meant that power over Java had passed to Raden Patah, and the king of Majapahit was only a spectator.
https://www.cirebonkota.go.id/pariwisata/kesenian-daerah/topeng-cirebon/
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