Made Mustika – A Balinese Master of Silver Jewellery

Made Mustika is one of the last remaining masters of Balinese jewellery craftsmanship, whose work embodies the island’s rich tradition and culture. His silver jewellery, meticulously crafted with exceptional precision and attention to detail, is a testament to a legacy passed down through generations.

In an era where handmade craftsmanship is increasingly overshadowed by mass production, Made Mustika remains devoted to traditional jewellery-making techniques. Each of his pieces is a unique work of art, blending the mystique of Bali with the soul of the artisan. However, as interest among younger generations wanes and demand for traditional jewellery declines, the future of this craft hangs in the balance.

Will Balinese jewellery-making stand the test of time? For lovers of fine craftsmanship, this may be the last opportunity to appreciate and support masters like Made Mustika before their artistry fades into history.

Made Mustika in Celuk

 

Interview with Made Mustika

 

I started learning to work with silver when I was 10 years old, in the third grade of primary school. This knowledge was passed on to me by my father, the late I Wayan Karik. I started learning from the basics – for example, from the process of melting silver and shaping thin silver sheets. It took me three months to achieve the desired effect. My parents also taught me how to make jewelry in different shapes.

Learning as a child and the first ring

The most important thing in craftsmanship is the desire to learn. At the age of 10, I started making rings with ornaments. However, before I could make them, I had to learn how to shape and process silver correctly. It took me another two months to master this skill. At that time, all tools were manual, there were no machines, which made the process more demanding. The production of the first ring took about a year, and the result was still not perfect.

My parents suggested that I improve my skills outside the home. Finally, in the fourth grade, I began studying with Mr. Lier and his wife. There I learned the techniques of making special bracelets. I spent about two and a half years studying, finishing in the sixth grade.

Balinese ring developed during 1930's and 1940's

 

Further development of skills

After finishing primary school, I continued my studies under Pak Tut Gan, who introduced me to more advanced techniques, including silver inlay. The first steps were difficult, but over time I gained confidence. In 1979, while already in junior high school, I began working under Mr. Ketut Arjan and Mr. Kawi, where I learned how to precisely join silver elements.

 

600 grams of silver as initial capital

After finishing high school, I started working with John Hardy, who was then operating under the name John Naga. I worked there for a year and then returned home to support my family. Thanks to the experience I gained, I managed to accumulate a capital of 600 grams of silver, which allowed me to start my own business.

Learning to make bracelets and first orders

I learned to make the first models of bracelets at home under the supervision of my mother. They were fashionable bracelets made of wire, without stones. Over time, the first orders began to appear - among others from Mabe Jewels, which commissioned me to make 30 silver bracelets. After some time, I gained the trust of customers, which allowed me to develop my business.

First motorcycle in 1987

Thanks to the growing number of orders, I could afford to buy my first motorcycle in 1987 for the amount of 1.25 million rupees at that time. It was a huge success for me. In the following years, together with my siblings, we founded the company Mulianta Silver, which operated until 1997, when I decided to start my own business under the name Mustika Silver.

Balinese silver sterling carnelian bracelet is made in granulation technique

 

Business development and foreign customers

In 1997, we started working with the first foreign customers - among others Vincent Abbur from Canada and Nando Mochi from Italy. Our products enjoyed increasing interest, and the number of orders increased. At its peak, we employed 15 craftsmen, and orders could reach 3,000–4,000 pieces of jewellery in a single project.

1997–2007 and subsequent challenges

The years 1997–2007 were a period of intense growth, despite difficulties such as the economic crisis and the Bali bombings. We worked with clients from Canada, Australia and Switzerland. Although the number of orders decreased, we still gained new customers and our jewellery was sold to foreign markets.

Today, the company continues to operate, but on a smaller scale. I focus on producing unique designs and passing on knowledge to the next generations, in order to preserve the tradition of silver craftsmanship in Celuk.

Island of Bali - the landscape and culture is the biggest magnet for foreigners

 

Changes in recent years

The words of Master Mustika fit perfectly into the narrative of other Balinese craftsmen creating unique jewellery. There is no doubt that the golden years of the silver industry in Bali are now a thing of the past. With the advancement of technology in Indonesia, new opportunities for professional education have opened up for young Balinese. Office work in the capital Denpasar, employment in the service sector abroad, work on cruise ships and the dynamic development of tourism on the island have created a wide range of attractive jobs. As a result, finding young people willing to learn the art of jewellery is becoming increasingly difficult.

At the same time, demand for jewellery has been decreasing for years. The younger generation prefers to spend money on electronics and modern gadgets. Even gold ornaments and jewellery with precious stones are no longer as popular as they were in the 20th century. The older generation in the West, who in their youth admired the unique style of Balinese products, is slowly leaving, and no one is able to fill the gap left by the Baby Boomers.

Today, Bali is a hotly debated topic on how to survive difficult times and preserve the craft passed down from generation to generation. There are no easy answers. Among the larger jewellery companies operating in the Silver Village, which once employed over a hundred people, probably only five survived. Others, which were still prospering in the 1990s, have significantly reduced their staff or closed down completely.

For collectors of silver jewelry and lovers of handicrafts, this is probably the last moment to go shopping in Bali. The market may soon be dominated by mass, fully automated production, as has been the case in Thailand for forty years. Such new silver jewelry will be aesthetic, but devoid of the soul and unique character of Balinese craftsmanship.

 

Leonard Szuszkiewicz