The Soul That Speaks Through Masks: The Journey of I Dewa Gede Putra in Balinese Mask Art in Singapadu Kaler
Balinese mask (topeng) art holds layers of meaning that come alive behind every carving and movement. In the hands of I Dewa Gede Putra, an art practitioner from Singapadu Kaler, masks are not merely visual works, but spaces where soul and expression meet inherited cultural values. Through a daily life intertwined with tradition and the world of education, this article evokes an atmosphere of how mask art continues to be preserved and to find its meaning along the passage of time.
In Balinese tradition, masks (topeng) are not merely performance props. They serve as storytelling media, symbols of character, and means of conveying life values in dance as well as classical narratives. Within this carefully preserved tradition, I Dewa Gede Putra stands as one of the Balinese mask art practitioners who consistently dedicates himself to cultivating and sustaining these values through mask-making, performance, and arts education.
The Mask Painting Process after Carving (Source: Personal Collection)
Born in Singapadu Kaler on 2 February 1976, I Dewa Gede Putra, S.Pd., grew up in a family of artists deeply connected to the world of puppetry (pedalangan) and mask art. He acknowledges that his closeness to mask art was formed from an early age. He was born and raised in an artistic environment, where both his grandfather and parents were practitioners of puppetry and mask art, as well as mask makers and wood sculptors.
From childhood, he was accustomed to seeing his family earn their livelihood through art. Within the family, artistic knowledge and skills were naturally passed down to the younger generation as part of a process of regeneration. From this environment, his interest in mask art emerged and has remained deeply rooted to this day.
I Dewa Gede Putra in Conversation About His Journey (Source: Personal Collection)
Dewa Putra’s journey began during his elementary school years, when he already expressed a desire to follow in his parents’ footsteps in the world of art. Upon entering high school, he chose to pursue art education at a vocational high school, majoring in the arts at SMK Negeri 3 Sukawati (KOKAR Bali). He later continued his studies in art at IKIP PGRI, taking a formal path as an educator. Through this process, he ultimately became a dance teacher and a cultural arts teacher. Beyond formal education, he has also been actively involved in conducting non-formal training in dance and Balinese mask art (topeng).
I Dewa Gede Putra’s Balinese Mask Collection (Source: Personal Collection)
In his collection, Dewa Putra owns various types of masks, including inherited masks as well as masks created by his own hands. Most of them are wali masks, which are used in sacred ritual and performance contexts, such as Topeng Rangda, Topeng Barong, and other types of masks. The types of masks he most frequently creates and performs with are wali masks, including the Topeng Keras, Topeng Tua, Topeng Dalem Arsa Wijaya, Topeng Penasar or Wijil, and Topeng Pajegan.
I Dewa Gede Putra’s Balinese Mask Collection (Source: Personal Collection)
According to him, each mask has a distinct function, character, and meaning, and therefore cannot be treated carelessly. Dewa Putra explains that the deepest impression he experiences as an artist arises when he performs using a mask he has created himself. There is a different emotional quality between performing one’s own work and performing someone else’s, even though both must adhere to the same traditional conventions (pakem). However, when an artist creates a mask and then performs with it, a stronger inner connection is formed. It is in this moment that the impression and message of a dance feel more profound, as the creative process and artistic expression merge within a single body.
I Dewa Gede Putra Performing the Dalem Arsa Wijaya Mask (Source: Personal Collection)
In the art of mask dance, character immersion is a fundamental key. Each tapel or mask carries a distinct character that must be deeply understood by the dancer. For example, the Topeng Tua symbolizes an elderly figure endowed with wisdom. Its movements must be slow, careful, and reflective of age and life experience. In contrast, the Topeng Keras represents a patih or a brave warrior, requiring firm, strong, and assertive movements.
The Topeng Dalem Arsa Wijaya symbolizes a king, characterized by refined, dignified, and authoritative movements. Meanwhile, the Penasar serves as a parekan, or narrator, who conveys the storyline within the mask performance. Each character has its own established movement conventions (pakem) that must be learned and understood so that the dance feels alive and meaningful.
I Dewa Gede Putra Demonstrating the Movements of the Dalem Arsa Wijaya Mask (Source: Personal Collection)
Dewa Putra hopes that the younger generation of Bali, particularly those of the Hindu faith, will continue to preserve and safeguard balinese mask art, as art and religion are deeply interconnected in Balinese life. According to him, if the Balinese people themselves do not protect their cultural heritage, there will be no one left to do so. He encourages the younger generation at the very least to become familiar with and appreciate mask art, even if they do not directly participate as practitioners.
