Day One: My shoulders ache, I have red blotchy legs from barefoot stomping on the wooden floor. I AM LOVING IT.
I filmed him performing the entire sequence, I’m in two minds whether to post here, because it seems too easy to ‘show it’. It is remarkable watching him. It’s like a switch flicks and his entire body electrifies. He is as smooth and sharp as an animal in the rainforest. I can’t wait to see him perform again. I can’t wait for more! 9am tomorrow!
This afternoon I travelled to Mas to meet the famous mask carver I.B Anom. He is a third generation carver, well known here and internationally for his work. This includes Balinese, Noh, Commedia, and ornamental masks. Featured in the National Geographic special on Bali, of which I watched before coming here, I was excited to meet him. He is also featured here.
I walked into his studio (also his family home) and there were three carvers working, all at various stages in the process (later, Anom reveals that the gentlemen on the left has been carving under him for 25 years. He will also be my Kecak teacher. The youngest is Anom’s son).
A dog walked in and was shooed out. Anom, sitting to the side, gathered us in and began his ‘talk’ (I’m sure he’s done it a thousand times before). He loves the attention. He is polite and proud.
Anom started carving at 15 years old, because any younger and “one finger bye-bye very easy”. Guided by his father, he studied dance simultaneously because “if you mask-maker, you must dancer”. His father’s tuition provided no concrete answer on how to carve each mask. Instead, he would identify the Topeng character- the movement, story, and music- but no explanation as to how to carve it i.e. what it should look like. Kind of like a Yoda type. He said “to create the face from the wood, you must hear the music”. He is referring to the gamelan that accompany the dance, largely improvised and following the performers movement.
As I have heard from many people here, the early 20th century saw a decline in interest from the Balinese people in traditional art. It wasn’t until the 70’s that initiatives, largely stimulated by tourism and western anthropologists, were set up to grow Balinese art (dance, painting, music, sculpture etc). A revival so to speak. During this time Anom worked hard to encourage knowledge and awareness in mask-carving and performance in Bali and overseas, encountering other forms and growing new ones.
The gallery of his work is a testament to this. Full of tradition, artistry, and precision.
And he loves people trying on his work! He'll do it himself...
I refrained (shy and overwhelmed), but managed this one...
They are transformative.
I asked what his favorite mask to carve was. He replied that every mask was his favorite. For him, if you’re not feeling it, stop. Put it down, and go back to it when you’re inspired. He emphasized not to put reluctance, frustration, or bad energy into it. “If you lucky- the mask will come alive...but not always laughs”
I then went across the road to the I.B Sutarja Mask Gallery. It is full of masks carved by the family (generations) and are particularly rich in animalistic darkness and humour.
I was a little overwhelmed, they have so much personality it was like encountering the family itself (who are lovely and not animalistic at all, surprisingly). Here are some snaps, I’m going to go back and buy a few, when I have time to try-on and play (which they encourage).
Finally, words from Yoda, I mean Anom, himself, “To make mask alive, you must find out for yourself”. I start carving tomorrow. WISH ME LUCK.
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