Denpasar, In the City

I Gede Bandem
Warbling Bird Elevate the Inspiration

The warbling bird could elevate the artist’s inspiration. For that reason, for entering I Gede Bandem dwelling house, many perkutut (small turtledove) birds warbling back and forth.

The artist I Gede Bandem (born on 1949) is affectionately familiar with bird’s warbling. He tenderly listens for the warbling while making ‘tapel celuluk’ (celuluk mask) or ‘tapel rangda’. He sits daily at his Balinese traditional architecture house, while his hands keep stirring for carving a mask. His hands engage in connecting the ‘prasok’ feather (kind of grass-plant that just like hair) to decorate the ‘tapel’ (mask) to be a kind crown for rangda or celuluk. “I feel amused with this job. Besides as a hobby, I also can earn enough money for my family. This is my only skill,” he said when Bali Travel News visiting to his house at Abian Kapas Tengah, Denpasar.
He works with aliberated face, freedom and fascinating, full of passion. His words are modestly disposed with polite and soft articulation. All of those habitual will totally transform on the stage. When he puts the mask on (“nyaluk tapel”), which means dancing for the celuluk mask, his fine behavior will turns over. He seems possessed by the ‘taksu’(spirit power) of Rangda in dancing on the stage. He becomes ferocious, scary, and terrifying. His voice echoes eeriness and scares the audience.
In contrary, his character is changed directly if he acting as ‘kartala’ (amusing figure in Arja dance-drama). He will amuse the audience with his funniest and traditional jokes, and make the audience double up with laughter.
I Gede Bandem proficiency in wood carving for Celuluk and Rangda mask are unhesitating. He received the talent from his father, I Gede Redeg, a farmer and dokar (horse and cart) driver, and his mother Ni Rupeg. Both of his parents often dance at the temple ceremony. “Our ancestor are dancers,” he said explicitly.
Formally, Bandem only reached for education at elementary level. Moreover, he was unable to finish his school and did not gain any certificate. He was a horse and cart driver, as his father does. While, his arts talent arose on the Japanese era.
Initially, he was leisurely in following fhis father’s hand movements on the back. But, his leisure motion were getting more seriously express in 1950’s, when he directly met I Nyoman Pugra, the famous “pragina” (dancer). Pugra is famous mask artisan from Tegal Kwalon sub village, his neighbor village.
Since that time, I Gede Bandem became obsessed by a figure of man I Nyoman Pugra. He frequently watches for Pugra’s mask performance, and then bravery visit to Tegal Kwalon. He often dreams of himself as a Pugra, and has the courage to learn directly with his aspiration figure.
After one-year study, Bandem starts joining the Sekaa Arja Penatusan that founded by I Nyoman Pugra. He received the opportunity to dance with “panasaran” figure (amusing royalty servant). In addition, by his first performance, he was able to mesmerize the audience with his jokes.
While actively join for that group, Bandem was also regularly involved with other arts group. He professionally acted as “bon” dancer (a recruit artist if there is no other dancer). He also joined with Sekaa Arja Tanjung Bungkak and danced the Janger dance from hotel to hotel. He also helped Jero Suli, arja instructor, in giving training to several villages up to Tabanan regency. In teaching, he always teaches how to perfectly portray the figure of ‘celuluk’ and ‘rangda’. He joined also with sekaa Drama Gong Satria.
Speaking about his experiences in portraying ‘celuluk’, he confesses that he is often tested/examined by supernatural powers. It means that a few of the audience who is capable of black magic power often disturbs his performances. “For performing and also skilled in celuluk or rangda dance, I am considered as a divine magical person who tends to go against the black magic power,” he add while stressing that he never contracted a serious sickness by the magical disturbance.
But, he once experienced a terrifying event. When he was on stage at Kuta, suddenly he went into a feeling of great coldness. He was confused and could not feel the stage situation. He almost forgot how to get into the “langse” (the stage hall). He felt unconsciousness for almost one hour. Then, he breathed gradually and prayed while “ngacep (pray for salvation) Ida Batara Sesuhunan-nya”, for mind enlightenment. “I experienced that event just the once in my life. Since this event, before dancing, I always pray for salvation to my “sesuwunan” (the adoring Gods) at the pelinggih (shrines) of my house.
As the artist, he frequently goes on stage at a variety of villages in Bali. This father with four children also sufficiently pays a visit to overseas countries, such as South Korea and Singapore. In the year 2000, he received an award of Seni Kerti Budaya as the government appreciation of his diligence in arts. And, last Monday night (30/6) at Ksirarnawa hall, I Gede Bandem attended and received an Old Artisan Accreditation from Bali Governor. “I am very grateful for the government consideration of old-aged person who never stop working for arts,” he said after receiving the accreditation.
(BTN/015)