Realism Will Never Dies

Te

Text By Doddi Ahmad Fauji

The morale in Sura Ardana’s realist paintings, becomes a warning of the disturbance happen to the concept of Trihita Karana.

In the art world realism has been having its own place for centuries. The realist style and realism in the art, survived the booming of photography and graphics art which technically surpassed the manual ability of human being to make art.

It was the peak of the art world when the social realism was in its hey day. It raises the emergence of the Fluxus and Dadaism, as the intention of the artists of the time to look at the social reality which was destroyed by the realism of the first and the second World War which took the lives of millions of people.

For certain artists, choosing the realist theme and style is not only about
showing their ability to draw an object with high precision and accuracy, but behind it lies a certain restlessness in looking at the social reality. For several artists, dealing with the social reality is their calling. They took it as their duty to carry the message through realism. This is the background of Sura Ardana’s comeback to the art world with his message of realism. It is a comeback because he had had a stagnation period in making his work. Also, he had tried to experiment with other forms such as abstract expressionist or figurative. But eventually he comes back to realism.

“I stopped (making realist works) before. But since 2006, I started to paint again. My background was realist. I explore other styles, but my soul is not there. I come back, again and again to the realist and realism, because making a work with other style for me is like lying to my self,” said the Tabanan born artist.

He gave the interview by the end of 2009 in his home studio. Ardana’s realist paintings have two main themes. First, it is an expression of his admiration to the hard and diligent workers. Second, it is a form of criticism towards the social condition of Bali which at the moment is being tested by changing world.

Ardana, a lecturer in Undiksa Singaraja who is currently undergoing his studies to get a master’s degree in ISI Yogyakarta, express his amazement to the hard workers who never complains. He was amazed seeing an old lady who still works as a porter in the tradition market of Yogya. All the burden that she had to carry on her back made it crooked, yet she still work as hard. Ardana was amazed in seeing the broken fingers on her feet caused by hard work. He holds deep admiration for his father who work until the break of dawn picking up sea shells to make chalks.

This admiration is depicted through his work Verisimilitude (very alive), with a subtle details, and an accurate precision. His technique might be called hyperrealist or photo realistic, but the meaning of the painting does not lies merely in the technical level, but also in the theme. The painting was trying to say to its viewer: don’t give up to easily.

The second theme in Ardana’s painting is the social problem of Balinese people who is undergoing great changes. Could the Balinese keep their tradition of Trihita Karana (three elements as basic to create harmony in nature)? Or would their tradition diminish, as a side effect of the tourism industry?

“The concrete example, not too long ago there was a Ngaben ceremony for brahmanas. Went the ashes was about to be spread on the beach, the procession must passed through a wall of certain inn. The procession must first ask for permission to go through there. It is odd, since the beach belongs to nature, why must we ask for permission to go back to nature. This is in my opinion is a social degradation,” said Ardana.

It is not unusual, if the figure of an old farmer is found in his painting. He is trying to remind us, how the farms which is one of the element of Trihita Karana, has become a life service to fulfill the need of the tourism industry. Farming is no longer a form of honoring nature, but artificially done to please the tourists.

Realist paintings like Ardana’s would always have its own admirer. It is not rare that the realist painter become the best painter of their times. Rembrandt for example, was considered a master because of his ability to tell a tale on canvas. He is the master of realism in his time, and some even considered him as the best of all painters. What will Ardana reach?

Technically, his ability is out of the question. What he needs is an exploration of the social themes. Locally, he needs something that touches the social problems of the Balinese people, and globally he needs something that touches the global society.

READMORE Realism Will Never Dies

The Mighty Dragon and the Fiery Wave

It is time for mankind to make time to listen and understand nature’s ailment.

After disappearing for so long from the world of sculpture art, Bambang Adi Pramono came back, displaying his latest sculpture masterworks.

This sculpture artist was born in Sidoarjo, East Java, July 7 1955. He graduated from ISI Jogjakarta in 1976. In 1981 he held a sole exhibition in ISI Jogjakarta that was then still located in Gampingan. This second sole exhibition is a process of his artistic rebirth by bringing more fulfilling masterpieces.

Bambang’s sculpture works are mostly based from wood and metal, ranging is sizes from 50 to 350 cm. For him, the media wood and metal are two natural elements with different characters, be it from the texture or processing technique aspects.

Both of the elements are combines into beautiful and unique work of art. His works talk of the contemplation of life, nature’s anguish, ecological damage, the set-aside animal kingdom, to the wonders of mythological creatures such as dragons.

In the series of sculptures with dragon theme, Bambang made an effort in upholding the philosophical values of the dragon legend. With his brilliance in formulating aesthetics, the dragons that appear in Bambang’s works are not a whole dragon, but displayed through certain elements of the dragon’s body. The said is shown, for example, on his works titled “Dragon’s Mouth”, “Dragon’s Hearth”, “Dragon’s Penishhh”, “Dragon Egg”. Bambang says that the dragon is a symbol of masculinity as well as beauty.

Some of his works also talk of the rage of nature. For instance, the work titled “The Wave: 5th Anniversary of Tsunami” tells a story of the tsunami disaster in Aceh that is so haunting. This wooden based sculpture takes on the shape of a gaping wave with terrifying sharp fangs.

In the work “Living Tree”, Bambang tells the story of a log of tree that survived in a draughty land, for the sake of sustaining life. This work also consist the critics on how mankind is getting more ignorant towards life of the trees. The wor “Kekayon II, Rhythm in Chaos” is a reflection on how nature in its hierarchy contains the beat of its own chaos, waiting for the time to explode. With that, it is time for mankind to take some time to listen and comprehend the ailment of nature.

READMORE The Mighty Dragon and the Fiery Wave

Justice for Water Paint

The emergence of memory sparks from dull and fragile material.

The unpopularity of water paint artworks turns for the best when a group of renowned painters produce in water paint. Nasirun and Entang Wiharso with their ever so expressive strikes presented unique figures. Nasirun in The Beach 1 and The Beach 2 seemed to very much enjoy the dissolving of water in the paint that gives out transparent effect. Nindityo Adipurnomo, whom lately is more known for his works in installations showcased the theme of identity and transculture issue in Mt Ancestor the Merchant; comprise of four panels. So was the provocative visualization of S Teddy D in Keep on Walk by History and Religiousity.

There was also Ugo Untoro, whom scratched The Very Straight Rainbow and The Black Was Born those conceptually brought up the subject of colors origin, also the naïve comical stylization Where is the Bali by Eddie Hara. And there were Putu Sutawijaya, Ivan Sagito, Agung Kurniawan, and Bunga Jeruk. It was so obvious that their spirit in the water paint artworks has not gone out. Their consistency even sparked new and interesting effects for water paint and oil paint have different characters.

This of course becomes a sort of battle chance for every painter. Even so, the challenge seemed to be faced through successfully and emerged the craftsmanship spirit of the artist. When the lasting, glossy and expensive oil paint has become a steady home, now memory sparks “come” with the dull and fragile water paint.

The display of numerous water paint artworks collection by Oei Hong Dijen has also become a whip for the present painters. In clarity the collection of Oei Hong Dijen affirmed that the water paint works by Affandi, Lee Man Fong, Wakidi, Rusli, Mochtar Apin, Sudjojono, to Antonio Blanco are terrific and must attain equal attention as their masterpieces.

Maybe the simple throw of the Syang Art Space owner Ridwan Muljosudarmo; that this exhibition is the attempt to “remind” is in fact true. Becuae no matter what, the art of water paint with all its limitations is a part of artworks that creation demands fulfillment on according aesthetic conditions. Justice for water paint, is our effort in making it last.

READMORE Justice for Water Paint

From Design to Pure Art

Reflecting a childhood of loss play time

Like most student at the Visual Communication Department of ISI Yogyakarta, Oky Rey Montha or better known as Kyre by his peers, done the work assign by his professor. He then submitted the work that he had made with all his heart and effort.

But what happened when he submitted the work to his professor? “You better put this outside. This work really doesn’t belong here. I think it will suits you better if you went to study there, said the professor while pointing to the Pure Art department,” said Kyre about his work while he was completing his studies.

And it’s not about that particular work that didn’t suit what he was studying. The young man born in January 3, 1986 have tried to work in the design world, by making illustrations and book covers for several publishers. But in Kyre’s opinion the relationship between a graphic designer and those with capital often ended up in a cliché: simply to fulfill an order.

For a while he was torn apart because he was in the design world while his heart was actually in the pure arts. This something that he realized and forced him to came up with a decision. Although up until now he was still studying in Visual Communications Design department, since the fourth semester he decided to not work with the typical pattern taught in the department. Instead he worked with the pure art style that gives a creator an infinite freedom.

The first step of Kyre’s decision can be seen in his work Personal Thinking #1 and Personal Thinking #2 both have the dimension of 180x170cm. In Personal Thinking #1 for example, he depicted himself strapped to a chair while a red carpet and slippers is in front of him, as though waiting for him. “What’s so hard about taking the first step,” he said about the painting. The funny thing was he was so driven to make paintings yet he didn’t have the money. The situation forced him to borrow canvases from his friends. “I’m lucky some of my friends were willing to lend me canvases,” said he.

The canvases became some sort of icon of history for Kyre, and he’s really eager to track down the two works. The thing is, when they were exhibited int “Expo Signs” an event held to commemorate the anniversary of ISI Yogyakarta, both of the work was bought by collectors. “I really want to buy them again because it marked the beginning of my journey, and it was a process full of mystery. Unfortunately, until this moment I haven’t have the chance to meet the collector,” said he.

For the young man who pioneered the visual community called Tempat Kecink (TK—literally means a place to piss) every work is his personal note. If he felt content to pour out whatever he was feeling and his ideas on canvas, one phase of process was completed. “ I never think what will become of my work, whether it will be sold or not. Maybe I disregard the market for a bit, but that’s just how it is, if I made something to comply to the market, then that means I am back to being a mere designer,” said he smiling.

Although he does not think too much about the market, it is really friendly to Kyre. In the beginning of April when he held an exhibition title “Evorah” (Evil of Rabbit Head) 13 of his work was sold out, bought by collectors.

“Maybe Kyre’s work was unique. With its imaginative characters, which was almost always represent him and his girlfriend, “Evorah” has shaped a fictional glamour world, with bright colors, but also give a mysterious allure, depression and gloom.

The work in “Evorah” become a reflection of Kyre’s childhood, at the time he was seldom had the time to play. The rigid rule of the family and his status as the first child in the family made his days filled with chores and to take care of his siblings, even when he was in junior high, cooking dishes had become his routine duty.

“It was in the past. I just want to take note of that world of mine. I also plan to hold a solo exhibition,” said he.

READMORE From Design to Pure Art

“Shampoo Ginger” from the East by Gede Gunada

Karangasem, the furthest east of Bali Island, is a district that is often times considered slow and is under the poverty level. Many of its natives settle in Denpasar or other regions for better living. However, not many people are aware that Karangasem holds an amazing nature landscape and a magnificently unique cultural art potential. Karangasem has also given birth to several painters those are still at national rank. To name a few, Nyoman Sukari, Wayan Redika, and Made Sukadana.

In Karangasem, blooms a fine-art group who name themselves “Lempuyang Fine-Arts Community”. Lempuyang is the name of one of the mountains in Karangasem that is considered sacred by the Balinese. The Lempuyang Community established in 1993 and has held numerous collective exhibitions, art camps, art discussions. Some of its members have even participated in the national and also international scaled events. For example, in 2007 they were involved in the “Earth Calling Bali” in the Global Warming & Climate Change Forum held in Nusa Dua, Bali.

Now, after a moment of vacuum from art activities, Lempuyang is back in action. To add more flare, Lempuyang invited several painters from outside of their community to showcase paint and sculpture artworks. Generally the exhibition shows how the members of the community are trying to show their latest artistic achievements. Such can be seen on the work “Pro Evolution Soccer” by Nyoman Sukari whom shifted from the theme of drunks to soccer fanatics, though still keeps the visual of his figures in his old style. On another side, Sukadana left the Barong theme, and is now busy sounding pluralism through his latest paintings.

The struggle of thematic exploration and expression style could also be seen on the works by Gede Gudana, Dalbo Suarimbawa, Ketut Tenang, Gede Sugiada, and Nyoman Triarta. Gunada, for example, on his work “Rabies”, processes the issue of rabies disease that was spread in Bali through his wild and imaginative brushes. Sugiada and Triarta criticize power and muscletalk through satire toned works. All wish to show that theLempuyang Community still has its artistic breath.

READMORE “Shampoo Ginger” from the East by Gede Gunada

Lama Sabakhtani

Teks Argus Firmansah

Humanizing theological meaning through real objects representation.

The theme of artists and his connection with his sacred entity is still dominant in the event of Indonesia’s fine-art. This can be observed also in the sole exhibition of Ay Tjoe Christine on artistic collaboration with Deden Sambas in the Lawangwangi Art and Science Estate, Bandung, titled; “Lama Sabakhtani Club”.

Ay Tjoe Christine presented a different concept with her previous sole exhibition; Symmetrical Sanctuary in SIGIArt Space, Jakarta, last January 2010. Now Christine is journeying through the interpretation of Jesus’s last remark on the cross, “Eloi, Eloi, lama sabakhtani” (Marcus 15:34 and Mathews 27:46). Christine’s intrigue towards this theological entity was showcased in Christine’s unique images, as the exhibition’s subject-matter.

What’s interesting was not only the two-dimensional production which was produced as a personal project, but also the three-dimensional works worked together with Deden Sambas as the implementer-artist, leading to the presentation of 4 eye-catching three-dimensional works. On the two-dimensional works, Hendro Wiyanto affirmed that the visual idea of Ay Tjoe Christine with the main elements such as the flaming cadmium red – red colors and piles of gloom black – ivory black colors were more dominant.

“The colors are produced from the sticks of oil-paints those are more freeing when nocked, creating a linier drawing and sense,” Hendro Wiyanto said. On the gigantic three-dimensional work titled ‘Lama Sabakhtani #1”, Christine displayed the object of a guillotine with three blades connected to light bulbs. Deden Sambas executed the three-dimensional work quite in a perfectionist manner by bringin the object to live in a 50 seconds cycle. The three blades go up and down in 50 seconds duration, resulting in a sound effect which Christine believed to echo the interpretation of the text ‘lama sabakhtani’.

The work can probably answer Christine’s problem in interpreting the intersubjective relation that almost always bounce back to her works. The exclamation ‘lama sabakhtani’ that is full of religious theological meaning, according to Hendro Wiyanto, was made more human by Christine through real objects representation.

Through this exhibition, Indonesia’s fine-art public get to again see the power of one Ay Tjoe Christine; as a young artist who chooses an eclectic way in reading the inter-relation issue of herself with the substance beyond her being.

READMORE Lama Sabakhtani

The Process of Bakepang Wood

Bakepang wood processes into aesthetic craft with currency value. The showroom is a simple place, located in Saharjo Street No. 62 A in Tebet, South Jakarta. It is called Kayu Tangi Art. The name itself is taken from one of the district in Banjarmasin, South Kalimantan. It so happens that the owner, Firdaus, is a native and born Banjarmasin.

“Yes, that is just a name for the business, I took it off a place in Banjarmasin,” agreed Firdaus.

Beginning his trade approximately twenty years back, in 1990, Firdaus was an employee for a foreign company. When his work contract was due, he decided to start a self-management business. The wooden based crafts became his choice.

“I’ve had my share of working in Seismic Survey, also in a foreign company, in the mapping division. When my contract completed in around 1982, that was when I decide to do self-management business,” he told the story.

Starting the business with humbleness, in the beginning Kayu Tangi Art was pioneered by three workers alone. Those people were Firdaus, his wife, and an amployee. “It was fueled by guts alone,” he reminisced.

Wooden shades; room partitions; lamp holders; and floor mats, were his debut products. Kayu Tangi Art products then received quite good response from the market.

The best market condition as Firdaus remembers it is during the governess of the late Presiden Soeharto. Back then there plenty of exhibition events with economical selling-stand costs. Just like the crafts exhibition event of KIDI (Indonesia’s Crafts in Interiors). In that exhibition the independent small mid units (UMKM) were only charged with affordable selling-stand costs.

“However the selection was quite strict. What’s fun is, during the exhibition there were usually government officials that browse to then make their purchases. Other than that there were plenty of purchasers from Singapore that came. It seemed they were exclusively invited,” Firdaus recalled.

After twenty years of engaging in the wooden-based crafts business, nowadays Firdaus starts to attempt a breakthrough in the media used. Though still utilizing wood as the base material, this time the wood used has a pretty unique texture. It is bakepang wood.

Bakepang wood has a unique texture, because basically it is wood that has already been digested by worms. It is those parts that have been masticated by the worms that shape the special textures on the bakepang wood. Firdaus intentionally import the bakepang wood raw material from his hometown of Banjarmasin. According to him, bakepang wood is easily found in the Kalimantan region.

“There are many logging companies, and the hollowed woods are usually unused. Those discarded woods are left lying around by the rivers. It is then that they got eaten up by the worms,” he explained.

Firdaus is rather creative in recycling unused material as his raw material. The bakepang wood which is basically wood waste can be processed into crafts items of aesthetics with high profit value and its own enthusiast community.

Nowadays, using bakepang wood as the raw material, he manufactures partitions, picture frames, tables, chairs, and lamp stands. Aside from those he also makes ornaments such as the congklak game set, containers for cooking herbs, ashtrays, etc.

The retail prices of the products vary, from the pencil case of eight thousand rupiah to the living room table for five million rupiah. Firdaus wishes that the market keeps on recovering as it used to be, thus his business can develop more and sustain its existence.

READMORE The Process of Bakepang Wood

Guo: Developing Chinese Painting

One of the rooms of Nelayan Restaurant in Ancol, Norther Jakarta, was busy. Most of the attendances are middle-aged ladies. There were only few men. Some were busy brushing paint on paper, and several other ladies were busy paying attention to a 15 meter length paper.

“This is the work of Qibaishi, the imitation of Guo Peng. But it is excellent, so much similarity,” praised one of the ladies, while keeping her eyes on the paper.

And those middle-aged ladies are Guo Peng’s pupils. They were learning to paint Chinese painting, for it is believed to bring peace to the mind, and each scrap is gentleness and patience.

Guo Peng. He is a man of Chinese origin whom was born in the City of Zhou Pi Jiangsu, on April 21, 1980. He is a tall man with slanted eyes, swift character who loves to give directions to his pupils. He is quite young. Even so, his talent of art had appeared since he was five years old. To sharpen his skills, at the age of 20 he enlisted in the Fine-Arts Faculty of Nan Jing University. In Nan Jing he has already hold two exhibitions, while in Jakarta he did one. His first ever painting is titled “Bamboo and Avian”.

He came from a less fortunate family. While attending college in Nan Jing, he lived poorly. Not even for food, to just get paper and ink Guo Peng had to buy them on credit. “All I ate everyday were only salted vegetables and bakpao,” he reminisced.

With troublesome condition, in year 2004 after graduating from college, Guo Peng explored Indonesia. He was accepted to teach Mandarin in one of the international schools in Jakarta. Ever since then live has been getting better for him. From his teaching earnings, he settled all his debts in Nan Jing.

During his stay In Indonesia, Guo Peng did plenty of observations to Indonesian artists. Avanti and Srihadi are amongst many Indonesian artists who he perceives to have the best masterworks. “I also wish to do my best in the line of art. I will never cease to create,” he claimed.

At the age of 30 he proposed to Yu Xia Fen. From their marriage they have a son who is now 3 years old, named Guo Hou Ze. Guo Peng paints with his own principle. He does not want to paint basing on other styles or comprehensions. He will keenly paint what he likes. He does not care what other people comments are. Those are the things that make his ideas flow.

Concerning Ling Nan Lung, Guo Peng states that the person is one of the best Chinese artists in Indonesia. Ling Nan Lung ideas came from Lin Feng Mian. Guo Peng is very fond of the modern and abstract works by ling Nan Lung. According to Guo Peng, Ling Nan Lung only does what is aspired. Painting with feelings.

“Ling lives at the inappropriate era and time, when the masterworks are of very high value,” said Guo Peng.

READMORE Guo: Developing Chinese Painting

Creativity Through Paper

The joy of transforming a piece of paper into a toy. You are probably familiar with the art of paper folding that originates from the Sakura land of Japan, namely origami. In the origin country this paper folding art had entered several phases of development. One of which is the papertoy. In Indonesia self, papertoy has not been widely known and the enthusiasts are yet to expand.

Two amongst the enthusiasts of papertoy in Indonesia are Faizal Azad and Dadik Triadi whom coincidentally are also designers. So to them, papertoy is not just paper folding art. Faisal, for example, reveals the fact why he is so fascinated in this paper art. “I have been interested in papertoy since 2004, because I’m very fond of toys which are affordable. The Vinly toys displayed on toy stores are quite expensive, so I chose to play with papertoy,” he explained.

To his accord, the art of paper folding is divided into several types; the origami that is very well-known as the art of paper folding, without scissors nor adhesives; 3D papermodel or what is usually called papercraft, which is the replica of items or characters, formed as detailed as possible to resemble the sample shape; and automata, papercraft mobilized by using grid, lever, etc. And then there is the papertoy that was initially known as the urban papercraft, as the simplicity of the 3D papercraft with more attractive skin visualization add-ons.

The Japanese papertoy in its development had not always serves as a hobby. According to Dadik, in European countries, papertoy has become a rather serious matter, even expanded into a profession which is the paper engineer. This is due to its use as promotional facility or part of the art design that has its own position.

In papertoy, for the novice enthusiasts, what usually done is to form a papertoy sampling a design. This was also performed by Faisal and Didik at their early fascination towards papertoy. “I spent about six months forming papertoy characters samples which I downloaded off the internet. Afterwards I started to create characters from my own imagination,” explained Didik.

He added that papertoy is more stimulation of the imagination through created designs. Although there is no limitation of types or styles, paper toy works still appears attractive because each of the creators owns their own identity. “Every papertoy artist possesses uniqueness. From the characters, design, to forms.

I personally enjoy creating characters such as vampires, skulls and monsters,” the man who wears spectacles described.

Faisal himself claimed to enjoy creating papertoys with their own characters and stories. “I enjoy building up a background. So it is not just cutting, folding and gluing. I also produce the folktale characters of “wayang”, because I’m eager to let out information on Indonesian culture. I Also wish to make other people happy for receiving more knowledge,” said Faisal.

The development of papertoy in Indonesia is not as big as it is in Europe. “In Indonesia papertoy is still taken as a regular hobby, the enthusiasts are not that many,” the papertoy creators, whom were listed in the book of 25 papertoy artists from all continents, reveal.

As an art that uses paper as the main material, the paper should be the inkjet 120 gsm paper. To keep the color of the papertoy from fading, it is better when papertoy design printing uses laser printers. After formed into papertoy, it is suggested to keep it in a place away from direct sunlight and humidity.

Both also wishes that Indonesian papertoy enthusiasts could gather and hold an exhibition together. Papertoy is not just a time-killing hobby, rather it is very supportive for design creating process, also trains people into being more prudent and concentrating. With that, the creativity of the creator is facing a real test.

If you want to learn and see different types of papertoy, there’s nothing wrong to visit this site www.salazad.com and www.dikids.blogspot.com. Good luck!

READMORE Creativity Through Paper

Sculpture and Craft Art

In that is often mass-produced, marginalized from the art conversation.

Sculpture and craft exhibition is displaying the 75 artists’s works, both from academic circles as well as autodidact, both young and old generations. The exhibition that displays various styles of sculpture and craft was initiated by Department of Art Craft ISI Denpasar. And it establish thanks to the cooperation between the Community Development Program I-MHERE ISI Denpasar with Bali Indonesian Sculptors Association (BIASA).

Compared with painting, sculpture and crafts are very rare finding a place to perform in exhibitions held by galleries in Bali. Sculpture and crafts are such as marginalized in art terminology. In Bali the sculpture and craft are already regarded probably as a craft art that mass produced.

Observing to this exhibition, we can get a lot of picture the map of sculpture and craft art in Bali. The art of sculpture and craft has still the certain uniqueness, which is created from the artist’s
creative imagination. That could be seen in the Ida Bagus Putu Sutama’s works entitled “Tiger Teeth” with the concept of the manger, a cremation in Ngaben ceremony in Bali.

Otherwise, by carrying the diversity, this exhibition presents various types of sculptures styles from the realist, surrealist, abstract, and contemporary. The art crafts also appeared charming with its visual diversity. It can be seen in the Wayan Sujana Suklu’s work, titled “Moon on Behind the Leaves “, showing relief natural panorama made from plate iron.

That’s it. The exhibition was at least able to cure our homesickness on creative works of sculpture and craft art. And similar exhibitions can be coming up in many galleries in Bali.

READMORE Sculpture and Craft Art

The Family Language of Indonesia – Malaysia

For me, Indonesia – Malaysia are not two related countries. From the etymology –language- aspect, the two countries are two nations under one roof. Then, the Holland and England colonialism separated them territorially.

The language used by most of the people in both countries came from the same mother tongue that is the Malayan language. Since the Indonesian people is the user of the mother tongue with high population, I agree with the Malaysian Minister of Culture and Communication Information, Dr. Dato’ Seri Utama Rais Yatim that mentions the language as Indonesian Malay. Now, it is estimated that over 500 million citizens in the ASEAN region (covering Indonesia, Malaysia, Philippines, Thailand, Vietnam and Singapore) are using it.

Indonesia, since 28 October 1928, through the youth Pledge, has made a strong affirmation that Indonesian nation has one language: Bahasa Indonesia. Constitutionally, the Indonesian language was then stated as the national language, to then be named the language of unison. And the President of the Republic of Indonesia, Dr. Susilo Bambang Yudhoyono (SBY) asserts himself to using the Indonesian language as the official language –within his position as the Head of the Country and the Head of Government- in international forums.

Since Indonesia – Malaysia are nuclear countries of similar origins: Champa, with similar ethnical grounds: Aceh, Malay (Sumatra and Riau), Minang, Banjar, Kutai, Bugis, and Java) plus China, India, Arab, and Europe, it is then quite understandable when the idea to set Indonesian Malay language as the language of ASEAN.

In various dialogues with several colleagues in Malaysia, Vietnam, Thailand (Southern), and the Philippines; the similar idea was developed. It is the collective major idea of countries in South-East Asia to relive the Indonesian Malay language as an International language. Remembering back to the reality of the Nation’s civilization historical reality, when the Malayan language became the socializing communicating language, be it in the context of social and even political communication, and even in conducting economical transaction.

The Language of Nuclear Countries Referring to the view of President SBY, the former Malaysian Prime Minister Mahathir Mohammas, the Malaysian PKK Minister Dr. Rais Yatim, we see that making Indonesian Malay language as the ASEAN language is a certainty. Indonesia – Malaysia as two nuclear (red: bloodrelated) countries, through various forums frequently held by the Malaysian Board of Language – Literature, and the Nation’s literature masters (through Mastera – Majelis Nusantara Indonesia – Indonesian Literature Master Council), play significant roles as the pioneers.

It is true what Datuk Johan Ja’afar –the former Head of Malaysian Board of Language and Literature (now Chief Executive Officer of Prima Media Bhd)- said, that starting off from language, the intimacy of the two countries: Indonesia – Malaysia, can continuously be strengthened. The Johor native with Riau Malay mother tongue has spent more than three decades along with his colleagues from Indonesia, thriving to strengthen the harmony of Indonesia – Malaysia relations.

Through the etymology line that evolves through customs and tradition, we are certain that the understanding in re-managing the relation of the nuclear countries will continue to develop. Using the method, including the dimension of religious values, we wish that the harmony of the two countries Indonesia – Malaysia, will not easily be shaken by the infiltration of the third party that triggers frictions and conflicts.

Language shows nation, nation fuels culture, language is the beautiful energy of civilization. It continues to evolve. Even on the lips of young politicians, vocabularies grow. Morover in Malaysia, the young Malaysian politicians those are put together under the UMNO Party, keep absorbing new terms used by Indonesian politicians. It got to the point where Johan Ja’afar wrote” “Sometimes hearing the UMNO leaders speak, makes us uncertain of who has the more right to sit at the BDP (red: Board of Language and Literature) – Footnote, 2010.

So? Strengthen the language as Indonesian Malay, the bond of two countries, again as the nuclear countries.

READMORE The Family Language of Indonesia – Malaysia

Considering Stage Artists

I am creative, therefore I exist. I have built a network, therefore I am strong.

At least 10 out of the 20 performers of the 5th Indonesia Performing Arts Mart 2009 have a broad network overseas. They are not only conscious of the camera, the stage, production costs, and profit, but they have grown and developed along with the art itself. The stage performance is only one small part of themselves as individuals who are continuously engaged in process and creation. It is as if art has chosen them, not the other way around.

Say, for example Retno ”Eno” Sulistiorini. This young lady born in Solo, on 4 June 1984 has repeatedly performed at the Salihara Theater and various places in Jakarta. From a young age, dancing had been a part of her physical and spiritual growth. Eno practiced her dancing at the Bangsal Prangwedan, on the east side of the Pura Mangkunegaran palace. She further studied the art of dancing at the School of Indonesian Arts (now named the Indonesia Arts Institute) in Solo.

Before participating in the Indonesia Performing Arts Mart in Solo, both the 4th in 2007 and the 5th one this year, which is an event where performers and buyers (presenter/ impressario) meet in a performance market, Eno had already experienced performing overseas. In 2007, she participated in the Visitor Change Cultural Program in New York and Chicago, USA. In 2008, she toured with the Mugi Dance Ensemble in Italy and Belgium.

Nan Jombang Group which drew much praise from the buyers in the 5th Indonesia Performing Arts Mart 2009, is well-experienced in festivals. For instance, in 2004 alone, they participated in the American Dance Festival in the USA, Queensland Music Festival in Australia, and the 4th Indonesia Performing Arts Mart in Solo. In Jakarta, in 2007, they contributed their dancing skills in the Jakarta Anniversary Festival and the Urban Festival.

Studio Taksu, which performed on the last night, on Saturday, 6 June, with a repertoire of movements called Tanda, has M. Guntur A.S., a choreographer who has often performed in Great Britain and Japan. Whereas the Sonoseni Ensamble performed at the Sapporo Music Festival in Japan and Weimar Kultur Stadt Europas’99 in 1999 and the Festival Millennium 2K in Santiago de Compostela, Spain in 2000.

Sahita, a dance group with humorous character, became hot news in the national media through their down-to-earth dance compositions. Managed by Fafa Utami, Sahita has toured a number of countries in Asia. ”In 2003, for example, we performed in the Philippines. We learned a little Tagalog. From that little knowledge of Tagalog we were able to make the audience laugh,” said Sri Setyo Asih, one of the dancers of Sahita who is more popularly called Ting-Tong.

Darma Giri Budaya Dance Group, one of the performing groups at this event officially opened by Minister Jero Wacik in Solo, is headed by Mujiono, a dancer, gamelan player and narrator/puppeteer of traditional shadow plays who has experience performing in the USA, Japan, Hong Kong, and Cambodia. At his dance studio, he teaches children the art of narrating and puppeteering. One of Mujiono’s students is Adam Gifari, the son of the very famous singer and “King of Dangdut” Rhoma Irama, from his wife in Solo, Gita Andini Saputri.

Then there is the Mayang Sari Dance Studio, which participated in the Singapore Arts Festival 2008. the Indra Dance Studio which has often been a part of Indonesian Cultural Missions to various countries such as USA, Erope, and Asia. ”We also received the First Place Award at the International Festival in Turkey,” disclosed Indrawati Lukman, the studio manager. That is why she dares to say that the Indonesia Performing Arts Mart should do more to improve its quality.

Indeed, the question is how effective is such a biennial event in connecting the Indonesian performers with the international buyers if they already have their own networks? The answer could be quite simple, and that is they will at least be able to make additions to their network. Or add to the ‘curriculum vitae’ of the host city. Observe how the Mayor of Solo always insists that his city hosts the event.

”I choose Solo to be the host of the 5th Indonesia Performing Arts Mart 2009 because this city is a city of creative industries and the most creative city in Central Java. And it has now reached the same level as other creative industry cities such as Jakarta, Bandung, Bali, and Yogyakarta,” said the Minister of Culture and Tourism Jero Wacik. The Minister of Trade Marie Elka Pangestu also expressed the same compliment.

As one of the keynote speakers at the Seminar on ”Global Creative-Industry Opportunities” which is a part of the event, Marie declared that she also approved of Solo receiving support from the government to promote its creative industries. ”Solo has at least 500 dance studios, other than the official dance school. Naturally the children in Solo grow up amidst a strong tradition of dance,” she said.

But, according to Marie, the contribution of performing arts towards the Creative Industry GDP (Gross Industry Product) is still very small. ”It is only 0.1 percent. We must work harder to raise this figure,” said Marie. Compare it with the contribution from other sub sectors. Advertising for example, contributes 7 percent. And architecture 3.2 percent; the arts market and antiques market 0.6 percent, and handicrafts 28 percent.

Design contributes 7 percent; fashion up to 44 percent; from film, video, photography there is 0.3 percent; interactive games 0.3 percent; music 3 percent; printing and publishing 3.5 percent; IT consultant and software 1 percent; radio and television 2 percent; research and development 2 percent. Naturally Marie hopes that the figures can rise since the year 2009 has been declared the Year of Creative Industries.

She also believes in the principle ”I am creative, therefore I exist.” Marie even said that workers in creative industries generate income that on average is much higher than the workers in other sectors. However, she also reminded that building a network is a very important priority. Likewise, having financial access so that the creative industries do not dissolve prematurely. We cannot always be idealistic and independent as well. .

However, not all forms of art can be categorized as an industry, especially if industry is defined narrow-mindedly as efforts to seek money.

Professor Sri Hastanto, Director of the Postgraduate Indonesia Arts Institute of Solo, will not acquiesce to the roots of our traditions being torn up just for the sake of a sales transaction in the name of interaction with world culture. According to Hastanto, the exoticism and mysticism of a traditional art cannot always be easily presented in a stage performance.

”The creative industry includes activities based on concepts from outside our culture. This kind of adoption cannot be directly applied, however. We need to evaluate the advantages and disadvantages to the nation, not only financially but also spiritually,” said the professor. But, at least, consider the showcases (the main performances) held at the Pamedan Pura Mangkunegaran, Hotel Sahid Jaya, and campus of the Indonesia Arts Institute in Solo, from 3-6 June as jam sessions for the artists who have already experienced performing internationally and practice sessions for those who have not.

Photo Source

READMORE Considering Stage Artists

Melody Of The Archipelago On GKJ’s Stage

The Children’s Traditional Music Festival successfully presents almost extinct old Indonesian traditions.

The Children’s Traditional Music Festival was held in Gedung Kesenian Jakarta (the Jakarta Playhouse on July 2 through 4 2009. The participants includes about 100 or so elementary and junior high students of the 29 groups from the 29 provinces of Indonesia. Most of them are about 7 – 12 years old. Among the 29 provinces are Western Nusa Tenggara, Jambi, Bali, Lampung, West Sumatera, North Sumatera and Maluku.

According to Sulistyo Tirtokusumo the Director if Art for the Director General NBSF of the Department of Culture of The republic of Indonesia in his opening speech of the event, the stagnated condition of the Indonesian traditional music was the basic awareness that lies behind the event.

Many of the traditional art form of Indonesia has already been left behind by its community. The shifting values of the society tends to make the younger generation prefers the popular culture and leave the traditional ones.

Because of this according to Sulistyo, this festival is an effort to give understanding as well as a mean of appreciation to the younger generation so they are not alienated from the tradition art forms in their areas.

Each day about ten groups performed representing their province. Each group tries to highlight the uniqueness of their culture and traditions. Appearances of the participants were assessed by jury consisting of Rahayu Supanggah, I Wayan Sadra, Ben Pasaribu, Mairusya Nainggolan, and Deni Hermawan.

The group from Jakarta performs on the second day. This group presents a song of a new arrangement titled Berbenah (Tidying Up). The song urges the people living in Jakarta to improve themselves as individuals over time as well as preserving the abundance of cultural wealth in Jakarta. The nuance of Jakarta’s traditional music, Gambang Kromong dominates the song. While the children of this group wears some kind of a “hybrid” costume that combines Betawinese ethnic traditional costume with that of the ethnic Chinese.

Bengkulu presents a song inspired by the Lembak Delapan tribe of the Tanjung Perdana Village in Central Bengkulu. According to Bambang Parmadie, the coach as well as the composer of the piece, he made his composition using traditional musical instruments of Bengkulu, for example Klentang ( which has similarities to Saron in Javanese Gamelan) and Ketuk Kerbau ( the Buffalo Bell). In addition he also uses the children’s game Sekencang as the basis of his choreography. The children made a big circle, which become smaller and smaller as the game progress, eliminating some of the children in the smaller circle.

Sekencang is a form of children’s game which have nearly vanished from the land of Bengkulu. “ Once the game was a very popular form of past times among children of Bengkulu. They play this after herding the buffaloes.” But the spread of the more modern form of children’s play resulted in the diminishing popularity of Sekencang.

Bambang only managed to find a limited literary resources on the game,“ When I decided to put the game into my composition I only found several people who used to play the game when they were children. Most of them are very old,” said the man who hold a graduate degree in Karawitan.

Watching the different types of traditional art form on one stage people will truly realize how Indonesia is a country with a wealth of priceless cultural value. “ Indonesia, is truly magnificent,” said one of the audience captivated by the performance.

Photo source

READMORE Melody Of The Archipelago On GKJ’s Stage

Banjar Arts in Tune with Nature

Teks N. Syamsuddin CH Haesy

Banjar is Malayan. The custom traditions of Banjar cannot be separated with the overall Malayan culture. In general, the traditional arts of Banjar can be comprehended as part of the overall living dynamics of the Banjar tribe, spread across Kalimantan, particularly in Southern and Eastern Kalimantan.

In its progress, Banjar custom art undergoes assimilation process with various elements of other cultures, be it within the Kalimantan island, or others such as the Sulunese culture of the Northern. In accordance with the geographic and natural conditions, the Banjar custom art is directly and also indirectly connected with the traditions of the people who are in tune with the rivers, lakes, swamps, and also valleys. They directly interact with nature and also their physical environment.

Thus, the Banjar custom art moves along with the development of human’s interaction with nature, that grows amongst others in various faiths and believes. All the way from those animistic, dynamistic, polytheistic, to religious. Moreover, as the religiosity of the Banjar culture that is dominantly Malayan is being influenced heavily by the Islamic culture, the interactions with local belief continues to evolve, to then transpire into culture syncretism.

It is this religiosity dimension that later causes the Banjar tradition to influence the lives of the people in developing agrarian culture set. The development of science and technology, and the dynamics of trade-based economy, has pushed the custom art of the Banjar people to become the energizer in the process of shaping its people’s characteristics.

The matter can be seen in the variety of arts, starting from dance art, fine art, and literature which integrate into one and others in the daily social habits of the people. Included within it is the domestic system that is the concrete manifestation of the social relation and correlation: traditional authority relationship.

Urang Banjar or the people of Banjar, grows and evolves in the said social relation-corelation system. Cultural syncretism is very much seen in various rituals in their rich art, such as the architectural and fine arts, in particular the art of engraving, whether it be wooden engraving applied to the houses, boats, mosque, tombstone, and others. There is also the art of engraving or brass inlay (for metal containers, “abuns”, “pakucuran”, kettles, and “lisnar”), silver and gold (for bracelets and necklaces) with the motive of hayat tree.

It can also be seen from the dance art of Urang Banjar, in the Baksa dance familiar amongst the royalties with its softness of choreography movements, like the dances in the Javanese “Kraton, and also in the outfits worn. And it is more obvious, for instance, in the Baksa Kembang dance which is danced to greet the royal guests, and also the Baksa Panah, Baksa Dadap, Baksa Lilin, and Baksa Rahayu dances.

The living dynamics of Urang Banjar that is relatively more open to acculturation and assimilation, can be seen in the much more populist dances, dominated by the Malayan and even Javanese elements. Among others is the Kuda Kepang dance, Jepen dance (heavily influenced by the Zapin), Gandut dance, Tirik dance, and Banjar dance. The performance of the custom arts is also visible in the Banjar Gamelan, both the Kraton Gamelan and also Rakyatan Gamelan.

In music arts, the charm of custom art harmony is seen in various everlasting populat folksongs, such as Ampar-ampar Pisang, Paris Berantai, and Sapu Tangan Babuncu Ampat, thick with Malayan lyrics. It is in harmony with the verbal literature that has been evolving since ol times, especially pantun and madihin.

The artistic simplicity of Urang Banjar nevertheless is very much sown in the craftsmen and architectural arts as the sub-custom fine art. We find it in the rattan, purun, and bamboo weaving art. Also in the glass paint art, such as those progressing in Cirebon, that is still consistent in style-imaging the story of Prophet Muhammad PBUH’s Isra’ Mi’raj journey  by riding on a bouraq, visualized in the form of a horse with human head and wings. Here and there, accessorized in various decorations that expresses the influence of the people’s multi-cultural character, from their flora, fauna, “tumpal”, and  swastika. It can also be seen in the Sasirangan, the art of weavedecorative much like batik.

For me, the custom art of Banjar is the artistic charm of religious people who are in tune with nature and  nvironment.

Photo: baliskytour.wordpress.com

READMORE Banjar Arts in Tune with Nature

Portraying the Life of Javanese Community

TEKS Darma Ismauanto

There are two factors for the Javanese community when exercising their traditional mores. The first objective is to gain a peaceful life, both physically and spiritually. For Javanese, conducting a traditional ceremony is to meet one’s spiritual need, so that he/she would remember the Almighty (eling marang purwa daksina). The mystical (kebatinan) tradition of the Javanese people is basically based on the spiritual belief that is decorated with a traditional value.

The second objective is to mingle with others, willingly and sincerely for a common advantage (lila lan legawa kanggo mulyaning negara). In addition, a traditional rite also helps people to have a collective working ethics, that is reflected in the expression mutual assistance (gotong-royong/ nyambut gawe). In various opportunities, the traditional rite is conducted by involving many people.

It is so obvious that the life of Javanese community is filled with rituals. It is the richness of values in the rituals that has made Rudy Mardijanto interested in making them a subject matter in his paintings.

Observing Rudy’s works attentively is like watching a series of slides portraying a complete series of the life of Javanese community. In his works, Rudy uses not only big ritual themes but also jags and records simple sides of daily activities, such as handicraft making activity, or activity and ambience in a traditional market.

Besides, during big events like a wedding ceremony, Rudy portrays the procession in detail, such as siraman, sungkeman, tanggapan (entertainment), etc. In each of his work, there is a characteristic that has become his style in describing a figure. A figure is always present with big black eyes and thick lips that are sticking out. It is this style that makes people called him “The Sticking Out Rudy” (Rudy Monyong). In addition, Rudy’s work usually depicted colossal scenes. Tens even hundreds of figures filled in his canvases.

His fascination with the lives of the Javanese community is strongly related to Rudy’s life story; born in Blora, Central Java in 1967, did his undergraduate in ISI Yogyakarta, and this made him close to the life of Javanese community. We can say that the portrait of Javanese community is the portrait of his own life. A ritual and daily activities of a community he involves in.

Unfortunately his works are not yet appreciated in the country’s fine arts market. On the other hand, they are quite highly appreciated in the neighboring countries like Malaysia and Singapore. It is not easy to understand; other people admire the traditional values of this country, but people of this country do not really appreciate them. On 2007 and 2008 Rudy, supported by H Galeri had a chance to hold an exhibition in Malaysia and Singapore. It was a great success, since all of his works that he exhibited were sold out.

Still promoted by H Galeri, Rudy will hold his second exhibition in Singapore. On April 2009 he will held an exhibition titled Jagade Wong Jowo (The World of The Javanese).

Photo: source

READMORE Portraying the Life of Javanese Community

Contemporary German Photography

German photographers, developed their work in accordance with the context of time and place.

BY Argus Firmansyah

Picture recording using the technology of photographic camera were developed in the modern era, at the end of 17th century in Europe. Supported by the art market, in the last ten years photographic technology even touches the commercial domain. Recent development of German photography can be seen through the works of three contemporary photographers of the country exhibited under the title“realer raum bild raum” in Soemardja Gallery.

The art using photography as medium was developed by the three photographers during the 1980’s. They created works strongly related to the time and place where they underwent the creative process.

Ute Eskildsen stated in his curatorial notes that the emphasized on “place” in the title of the exhibition is the key to bridge two opposite concept of “real” and “conceptual.” He did this to approach his work with a more actual point of view.

The same concept was materialized by Heidi Specker through a series of photographs of abstract architectures, division of city landscape by Susanne Brügger, while Thomas Demand explored the spatial construction. The methods of artistic production as well as the mediums used in this exhibition will give new perspective on photography to Indonesian photographers.

Through his work Thomas Demand showed the discourse of German’s contemporary photography by putting the art of photography as a model, instead of emphasizing on the reality of the object.

The reality in Thomas’ investigation was made simple, by making a model with a cardboard then it is represented with a photographic technique. What is seen in the photographs is not aimed to explain the true meaning of the models created by Thomas.

“What is visible is not always what it seems and the meaning can also be different. This exhibition is an effort to motivate the photography enthusiasts to investigate reality through photography techniques,” said Andreas Zürn, Director of Goethe Institute, Bandung.

Topography of urban development was also presented in the works of Susanne Brügger. The concept of “Map Work” in Susanne’s work presented a technique of photographical art in the domain of architecture and urban development with Paris as the object. She divided the city landscape into separate parts with a certain system and particular representations. Relation and association of photographic art are presented ironically by Susanne.

The photographic art of Heidi Specker is more dominant on the detail of Red-Green-Blue (RGB) colors. Specker conducted this artistic exploration by using computer technology.

Photo: source

READMORE Contemporary German Photography

Indonesia’s Maritime Museum History

The Indonesia’s Maritime Museum holds thousands of collection that recorded maritime history of the archipelago.

The Maritime Museum is situated on area with the width of approximately 7.415 m2. Unlike the other museum, the Maritime Museum consisted of several buildings. The main building stood in front of the fish market, while the other building is the Syahbandar Look Out Tower. In the beginning of the 17th century, VOC trading company developed rapidly. Due to this development it was felt necessary to make a trading office as well as a sufficient storage house for the spice, peppers, tea and coffee they managed to collect.

A piece of land in the west of the river Ciliwung, near the Sunda Kelapa harbor were considered an idyllic place to build a great storage room. Thus, from 1652 through 1774, a great storage room was gradually built. Its width was 1800m2.

The old town (kota lama) were the central of Jakarta in the old times. “At the time, point zero of Jakarta was not the National Monument, but this place,” said Makmun Hidayat, one of the guides in this museum.

The storage room then called Westzidschje Pakhuizen, or storage rooms in the east of the river. Besides as a place to keep the commodities , this place also functioned as a place to sort, pack, as well as send the valuable commodities. Because of its valuable contents, this storage house was surrounded with a thick and tall wall that functioned to guard the safety, as well as the sign of the borders of Batavia at the time. This storage house had undergone several renovations on 1718, 1719, and 1771.

Other important part is the Syahbandar Lookout Tower. The area of this tower stood separately from the storage house. According to Dr.F.De Haan in his book Oud Batavia, this tower was built when the Jakarta Harbor was lead by a Dutch named Van Den Broeke in 1826-1849.

In 1976, Ali Sadikin, then the governor of Jakarta, felt the necessity to restore some part of the building. In his perspective the building has an important historical meaning. The following year, on July 7, 1977, Ali Sadikin then initiated the building in Jl. Pasar Ikan No.1 as the Maritime Museum. The museum has an important standing amongst historical building in Jakarta, because The Maritime Museum is the first museum in the archipelago that exhibits collections related to the maritime history and fishery of Indonesia, from Sabang through Merauke.

The Museum is situated in Jl. Pasar Ikan No.1, West Jakarta. It is not hard to go to this museum. Visitors can choose to take the Transjakarta Bus to Kota Bus Station. Then there are several options to get to the museum, motorcycle or bicycle rental are available for the visitors. They can also choose Mikrolet 015, a sort of minibus that travels from Kota to Tanjung Priok.

The entrance of this museum is located in front of the fish market. To look at it in a glimpse, this museum look a lot like a fortress, because of the high walls that surrounds its main building. The Dutch style architecture is preserved as close to its original form. Because the important historic meaning of this building, a little change would draw protest from historians or archeologists. One day, there was part of the museum floor that was changed. The substitute floor was different from the original one. The archeologists that became aware of this fact expressed their strong objections to the museums.

There are a lot of amazing collections kept by the museum. There are 14 cannons, 17 original boats, 104 navigational instruments. Not to mention, the collections of miniature boats, fishing equipments, navigational maps, photos and coat of arms of the navy that amounts to hundreds of items. Also maps of ancient cruising routes in Indonesia.

The Maritime Museum actually has a lot of interesting collections that can be explored by its visitors. One of its most valued collections is the Jayapura 02 vessel. An original vessel put on permanent display in this museum. Made from an old tree, the length of this vessel is 15 meters. To put it into the museum, the boat must be disbanded first, and the reassembled once all parts of it had enter the museum.

“The process of disbanding the boat was quite an effort,” said Makmun. “We must invite the heir of the person that made the boat from Papua, because a certain ceremony must be conducted first. Only after that, the process of assembling the ship can begin. The ship is made from a very strong wood with a substantial weight. This keeps the boat from floating when flood entered the museum.”

The other interesting collection is the Phinisi Nusantara schooner. It is interesting not because of its unique form, but because of the story behind the boat. The real Phinisi Nusantara had successfully sailed an 11.000 miles from the Pacific Ocean to Van Couver, Canada in 1986. Unfortunately, this ship sunk near Ayer Island in the area of the Thousand Islands in 2002. To honor the memory of the boat, The Phinisi Nusantara Foundation made a miniature of the boat and gave it to the Maritime Museum.

Another precious collection is perahu bercadik (a special kind of boat with a special weight on each of its side). It is donated to the museum by its builder, Effendy Sulaeman. This boat was made by Effendy to sail in an expedition to Brunei, where he traveled alone. Originally he made two weights on this boat, in the left and right wing of the boat.

An experiment showed that the boat with two weights did not go as fast as it was expected to. To enhance the speed, Effendy take one off. The boat traveled a lot faster. After he was finished with the expedition, Effendy donated the boat to the museum.

One of the biggest problems faced by the museum is the flood. “When the tide is high, the water often enters the museum,” said Muhammad Isa, one of the museum clerks. Not to mention the routine inundation faced by Jakarta.

In 2007, the museum went through a big flood. Many of its collections were destroyed or damaged because of the flood. The museum must arrange their collections once again. The cataloging process found a substantial decrease in the number of collection from 1888 items in 2006 to a mere 768 items in 2009.

Learning from their mistake, the Museum made a new drainage system that surrounded the museum. “The drainage system will keep the flood out of the museum, or if it is flooding, it won’t be as bad as before,” said Muhammad Isa. The rate to enter the museum is Rp2000,- for the general public and Rp1000,- for student. The museum is open from Tuesday through Sunday starting from 08.00am everyday.

Photo: source

READMORE Indonesia’s Maritime Museum History

This is my Style

By Darma Ismayanto

Come on, keep playing, and keep being happy. Forget about those struggling for power.

The fine artist, Arie Kadarisman expressively released his cheerfulness without any burden in his painting entitled “Playing in front of a Shadow” (Bermain di Depan Bayangan) and “Zone Up”. He was freely playing, with or without a tool, a way to let go off life weariness in the midst of the global problem as it is now.

The bright colors that Arie chooses very much support the cheerful theme he is presenting. Huuppp...huuuppp...huuupppp... Keep playing, cheer up. Forget about those struggling for power. It is the simple message that appears when one looks at the two of Arie’s works. He, together with 18 other artists is presenting their works in the “I Report, I Decide” exhibition in Seven Star-Art Space (Tujuh Bintang Art Space), from 27 March – 12 April in Yogyakarta, at the time of legislative political campaign, quite/cooling off time, and the cast voting day for legislators in this country.

Saptoadi Nugroho, The Director of Tujuh Bintang (Seven Stars) provides a space for artists to give announcement to the public and to make a decision, “This is my (painting) style” (Inilah gaya (lukis) saya). Therefore observers are given the freedom to translate those works.

A variety of themes can be directly seen when we look at the works of Budi Yonaf who presents religious and spiritual works. Something intentional (kesengajaan) is presented by Budi in his two works “Asa Dirinya” and “Kaki-kaki Langit” (Horizons), that is to voice out an announcement “This is my paintings.”

While the theme of woman body form is chosen by Wibowo Adi Utama in his two works”Super Impose in Silence” and”Loneliness in Friday Night”.

He describes a natural flexibility and beauty; however it is not wrong if there is someone understands it as a way of exploiting woman’s body and being sensual. Yoyok Sahaja also has a different work to present. Two paintings that he brings to the exhibition this time, “They keep falling” (Pada Berjatuhan) and “Grow Up to Spirit” are describing small objects sticking to the wall.

READMORE This is my Style

Buddha Bar Building Belongs to Art

The public was made uproar when the name of Buddha was made the label of a restaurant and bar.

Seven years ago there was an idea: some of the collections of fine art paintings belonging to the government of the special territory of Jakarta (DKI Jakarta) that are now in the Fine Arts Museum and Ceramics (Museum Seni Rupa dan Keramik) will be removed into this building.

By Agus Dermawan T

Since last February there has been pro and con in the discussion regarding the existence of a Buddha Bar located on Jalan Teuku Umar no.1, Menteng, Jakarta. The existence of that elite restaurant was protested by Forum Anti Buddha Bar, because the restaurant uses the name of Budha as well as Budha statutes and images for decorations. The protest was supported by Mahabiksu Dutavira, the chairman of Majabumi. Mahabiksu says that Buddha Bar is a way of insulting a religion.

In the meantime, teens of observers take this matter seriously by writing various articles in magazines and newspapers. Form a social observer such as Eddie Kusuma who wrote in Suara Pembaruan (5 March 2009) up to Prof. DR. Komarudin Hidayat who wrote in Seputar Indonesia daily (30 March 2009). The leaders of various religions and of other circles agree that it is not appropriate to use religious names and symbols for labels in restaurants or bars.

Other than the problem of religious symbol, this case reminds us that such a cultural heritage building was initially allocated for arts and not for bar or restaurant. And, since 1920-s the community has called it Bataviasche Kunstkring building, or Lingkar Seni Batavia (Batavian Arts Circle) building, a building that gave shelter to the most prestigious institutions then.

The architect for this building was PAJ Moojen, and it was officially handed over by Governor General Alexander Willem Frederick Idenburg in 1914. It was an interesting building that was positioned as excellent (primadona) architecture in the neighborhood before people entered Menteng area (Entree Gondangdia). This building with art nouveau pattern was side by side with N.V. De Bouwploeg (that was often pronounced “boplo”), an area developing company that has now become a mosque, and also the building of Army Press Office. The address of Bataviasche Kunstkring building then was: Jalan Heutszboulevard no.1, Batavia.

As an art building, Bataviasche Kunstkring located in an area of 3.250 square meters, had met several prerequisites. It had three entrances because it was located besides the street of Teuku Umar, Cut Meutia and Cut Nya Dien.

It was located in a way that the public was easily interested to it. One of the managers of this building was Mrs. J. de Loos-Haaxman and she was known as a famous arts intellectual. She wrote reference books, such as Dagwerk in Indie and Verlaat Rapport Indie.

Maestro Work

There were quite a few important art program conducted in this building. One that the public remembers most is a painting exhibition of the world’s maestro’s works such as those of Pablo Picasso, Kees van Dongen, Van Gogh, Soutin, Marc Chagall, Campigli and Jan Sluijter, April 1937. Those paintings are the collection of P.A. Regnault. This exhibition conducted by Bond van Kunstringen in Nederlandsch Indie was a stunning to those who loved arts in Indonesia, although the natives (inlander) were so discriminated that they had difficulties going in.

A continuous program held was an exhibition of paintings of artists who were members of kunstkring who lived in many cities such as Bandung, Surabaya, Semarang etc. Exhibitions were conducted periodically and in phases in a pyramid model. The peak was the tentoonstelling bondscollectie phase that was a combination of the best works of the members of kunstkring from various regions. Bataviasche Kunstkring was very active when it was chaired by Jan Frank.

Usually fine artists that appeared in this building gained a good position in the history of the fine arts of Dutch East Indies. It was more so with those included in small groups, which was actually a special recognition, such as Tentoonstelling von werhen van Indische Kunst Schilder, December 1933, featuring C.L. Dake Jr, Emil Rizek, H.V. Velthuysen and M. Vervoort. Who does not know those famous names now? Ries Mulder, an educator of the Fine Arts Institute of Technology in Bandung, had once had an exhibition here on August 1941. A number of women of Dutch East Indies such as Frida Holleman, Carla Kemper and Elizabeth Rietveld also became famous from this building.

Works usually exhibited in Bataviasche Kunstkring were those of academics. The community of Dutch East Indies enjoyed it as a special reaction of elitist in nature. Bataviasche Kunstkring building then became a symbol of status. It is difficult to deny that the movement of the history of Indonesian fine arts was pioneered by Sudjojono, Agus Djaya, Harijadi S. through Persagi (Persatuan Ahli-ahli Gambar Indonesia/Association of Painting Experts of Indonesia, 1938), which was also motivated by the activity in this building, although some of the native arts community were “in opposition” relating to vision and social aspect.

Back to Arts

In 1942 Dutch retreated and Japan entered Indonesia. The emergence of Poetera (Poesat Tenaga Rakjat/Center for People’s Power) organization and Japanese arts Institution Keimin Bunka Sidhoso, was blurring the existence of Dutch arts buildings, which were then closed. The door was more tightly closed after the proclamation of Indonesian independence on 17 August 1945. The Bataviasche Kunstkring building was used fro the office of the Council of Islam (Majelis Islam), and then Immigration Office, and then was purchased by PT.Mandala Griya Cipta. During the 1998 riot, this building was damaged because it was used as an army post safeguarding Soeharto/Cendana family. Luckily during the era of Governor Fauzi Bowo, this “architecture sanctuary” (“cagar arsitektur”) building that keeps a history of cultural function (“sejarah fungsi budaya”) has been successfully renovated and sill maintains its originality.

After tracing the history, we can not deny that Bataviasche Kunstkring building surely belongs(more) to the art and not to those handling immigration affairs. It does not even belong to those having restaurant business. If art ever returns to this building, “destiny” and historical connection (benang merah) will revolve in a circle: what was born as an art house will be an art house, especially because Fauzi Bowo is known as a moderate governor having the predicate of main connoisseur, a genuine fine art lover. Jakarta has also Aurora Tambunan, deputy governor who has a bright and vast cultural vision. Many are convinced that DKI Jakarta high officers are processing a very wise solution to return Bataviasche Kunstkring building back to its historical role.

Seven years ago there was an idea: some of the collections of fine art paintings belonging to the government of the special territory of Jakarta (DKI Jakarta) that are now in the Fine Arts Museum and Ceramics (Museum Seni Rupa dan Keramik) will be removed into this building, because the Fine Arts Museum and Ceramics in Jakarta is located by the sea, the humidity could jeopardize the condition of the paintings. Will this good idea be implemented? It will not be a problem to have restaurants and ‘drinking places’ in the museum or gallery.

READMORE Buddha Bar Building Belongs to Art

Keris Mistakology

sumber foto: pasarmadura.com

By Dwi Fitria

Due to Indonesia’s paternalistic culture, it often happens that people asks for information on keris to them who are considered the elderly.

According to Toni Junus, the General Secretary of Panji Nusantara, a keris enthusiast organization, there are many wrong perception on keris that goes on in public. “Some of them are the percep-tions that keris is a mystical item that can bring people wealth, strength, luck, and others.”

Keris has thousands of motive (charm) alternatives with each their own meaning. The motives represent the wish of the person who ordered the making. “For instance the udan motive, which has the meaning of wealth. The keris in this matter plays the role of a motivational item to get the owner working more diligently and yielding wealth.”

Due to the paternalistic Indonesian culture, it often happens that people ask for information to the elderly, when not all of them have sufficient knowledge and comprehension on the keris. “Because of the lack of basic knowledge, it’s easy for them to say that the keris is an item of horror that requires cleansing and so on and so forth,” said Toni.

Other misconception on the keris is located on the custom of cleansing (bathing) it. The main goal of this process is to pre-vent the keris from corrosion. However for many people the process then goes on a different interpretation to a ritual to honor the keris as a mystical item that is perceived to have supernatural powers. Bathing is done to “please” the super-natural entiry that dwells in the keris.

“This mistake started with the tradition of keris bathing in the roy-alty. The kings back then needed a way to preserve the hegemony of their regime; that is why they feel something needs to be done in the name of ‘communal sacred” ceremony,” explained Toni.

And then evolved the sacred keris cleansing ceremony in the month of Suro that is then continued with a parade to carry the charms around the area. The ceremony then progresses to the praying rituals to wish the country wealth, protection from diseases, and others.

“This is a positive gesture, but what’s wrong is common people’s interpretation that claims the keris must be cleansed to keep the spirits from raging. When in all truth, that is not the meaning of cleansing,” Toni regretted.

The process of keris cleansing is firstly done by mixing warangan (arsenic crystal compound) with citric acid (usually from lemon juice). The formula is used to prevent corrosion on the Keris. In the process of keris making, the compound is also used to bring out different colors on the keris’ charm (motive). After the cleansing process is done, the keris is then smeared with oil to complete the anti-corrosion layer on the keris.

Unfortunately the formula of warangan compound and citric acid also has a damaging character when done too many times. “That is why many of the keris then get damaged,” Tony elaborated.

Once a foreign researcher namely Garret Soul Young said to him that a keris should actually be cleansed only once every ten years. “As long as the keris is not contaminated by salt or water, the chemical compounds used is effective enough to prevent it from corrosion.”

Toni perceives the misunderstanding of keris as one of the main reasons why modern society tend to keep their distance with the item. “Without knowing they already see it as a mystical item, afraid of infidelity and all.” That is why he tries hard to straight the misun-derstanding back.

Together with Panji Nusantara, Toni makes the effort of conduct-ing various activities for the sake of popularizing keris back to soci-ety. One of which is by making a simple periodicity to qualify keris based on the time of produce. “There are only two main qualifica-tions; before and after independence. The keris those are made after independence are called the Kamardikanis.

Collectors used to be interested in purchasing keris from old ages, but now the Kamardikan keris have gained a place in public, During the grand exhibition of Keris for the World held at the Indone-sian National Gallery a while back, many of the Kamardikan keris were retailed with high pricing. The works of Toni, Nyi Kanjeng Daratista (several kerises those were made inspired by the singer Inul Daratista) were purchased by a collector with the price of mil-lions of rupiah. n

take from: arti edisi 29, juli 2010

READMORE Keris Mistakology

The Wealth of Batik

Indonesian Batik is filled with techniques, symbols, and supreme artistic values.

Friday, 2 October 2009; the weather in Abu Dhabi or United Arab Emirates was rather bright and not so hot, thanks to the breezes of wind that come and go. The sky was also blue, as if providing a shade for the city that is located at 24°28’ Northern Latitude and 54°22’ Eastern Longitude. Skyscraper buildings stood tall, strong and luxurious. At one of the most known buildings in the City of Abu Dhabi that afternoon, the Committee of 24 countries from Unesco (United Educational, Scientific, and Culture Organization) at their last assembly decided and declare officially the enlisting of Batik into the Representative List of Intangible Cultural Heritage.

Indonesian Batik becomes a part of 76 arts and traditions of the 27 countries that Unesco claimed in the Representative List of Intangible Cultural Heritage through the decision of 24 countries committee that assembled seriously before determining their official declarations. In-donesian Batik was perceived as filled with techniques, symbols, and cultures those are inseparable from the community since their birth to their death. The good news was of course taken whole-heartedly by the Indonesian nation while keep on praising Almighty God.

The announcement of batik’s enlisting in the Representative List of Intangible Cultural Heritage – Unesco in Abu Dhabi or United Arab Emirates; becomes a great pride to Indonesia. Doddy Soepar-di of the Indonesian Batik Foundation Guidance Council claimed to be optimistic that batik will evolve more in the future. Along with the progresses of designer products, motives or varieties of batik will also experience significant evolution. Unesco’s declaration towards batik affirmed it to be the third Indonesian cultural heritage that is approved globally. Before this, Unesco has declared wayang/ shadow puppet (2003) and the keris (2005) as the master-pieces of verbal culture and intangible cultural heritage.

The Minister of Culture and Tourism; Jero Wacik said that, with global approval toIndonesian batik, the obligation of Indonesian society to preserve the nation’s heritage becomes more evident. “We do not forbid other nations from using Indonesia’s cultural products. However, when there are claims or admissions of them as the possession of other countries, we must not stay still,” he affirmed.

This international affirmation of Indonesian batik does not mean that the Indonesian people themselves do not appreciate batik. The evolu-tion of batik must remain, so it will always be a part of the people’s daily lives. Indonesian government is also aspired to strengthen the promotion. Thus, the existing batik centrals can progress and will be able to present more uniqueness in batik creations.

Indonesian Batik was enlisted in the Representative List of Intan-gible Cultural Heritage due to the historical, philosophical, and re-ligious aspects that found the creating process. Unesco judgment is not just the Indonesian batik pattern that is worldly acclaimed.

The acclamation of United Nations towards Indonesian Batik is a form of pride that also escalates the nationalism of the Indonesian nation. This international appreciation is hoped to resurrect the batik industry in the regions. And batik must also be understood and not only seen as a mere outfit. Batik is the reflection of Indonesian national culture, the indepen-dent and creative customs.

According to Hasanudin – a batik designer – in his book titled Coastal Batik Tracks the Influence of Religious Trading Ethos in the Various Decorative of Batik (2001), the influence of Chinese, Indian and Islamic cultures is rather immense in forming the vari-ous decorative of the nation’s textile and batik. Chinese various decorative is portrayed dynamic such as a meander that is rhyth-mically arranged, the shape of clouds, swastika that faces right or the entwining spirals. Aside from that the motives of phoenix bird and dragons in motion also comes from Chinese influence.

It is not only motives those are related to the existence of ba-tik. The definition of batik itself is inseparable from the pro-cess of batik creating which uses the dip-cover process; that is to dip in coloring substance, the cloth that has been covered by malam on certain parts.

Yan Yan Sunarya, the lecturer of the Fine-Arts and Design Faculty of Bandung Technological Institute explained that if the making process does not go through the dip-cover method, then the produced item cannot be called batik. The process of batik it-self consists of design, malam printing (using canting/ stamp/ brush), coloring (dip/ colet), color enhancing, drying, and rinsing by pelodon (malam rinsing). The pelodon rinsing is the last phase and afterwards the batik cloth is ready to be made into wardrobes or inte-rior designs as required.

The history of batik in Indonesia comprise of two kinds of batiks those are characterized based on the producer and production location, which are the kraton batik (Sura-karta and Jogjakarta) and coastal batik. Kraton batik is meant only to serve the interest of kings, palace officials, and palace employees, including the soldiers. Aside be-ing assigned for the king’s “official wear”, batk is also used in weddings, birth, death, and dance art. It is also used in various palace traditional ceremonies. Batik cloths are often used as sarongs, long dress, tube top, shirt, head wrap, scarf, and wall interior decoration.

At the times of Mataram Islamic empire in Jogjakarta and Surakarta, Yan Yan Sunarya told, the making of ba-tik cloths with the expression of artistic values with vari-ous complex, detailed and soft decora tive was developed. Making batik was even made as the symbol of well-man-nered upbringing of the royal families.

In its journey, the antithesis of kraton batik is the coastal batik. This batik is produced at the coastal re-gions of Java, all the way from Indramayu, Cirebon, Pekalongan, Lasem, Rembang, Juwana, Tuban, Sido-arjo, Pacitan, through Madura. What differs the two is that coastal batik is the batik that is produced beyond the walls of kraton palace. The batik workers in Sura-karta and Jogjakarta those are beyond the walls of the palace are categorized in the coastal batik. This batik is also called by market batik, because the production of the batik is meant for retails and wears by the public society and does not go by social strata.

In Indonesia, for any official events, the gov-ernment officials and President all the way down to Head of the Village also wears ba-tik. President Susilo Bambang Yudhoyono, the ministers, members of the Board of Public Representation and other elite of-ficials along with the ambassadors from neighboring countries also wear batik in various national or ceremonial events.

History proves that batik is the result of Javanese society traditional cultural process that is inherit for generations. Even so, back then it was not yet called batik-printing. As the Grand Master of Archeology from Gaah Mada University, Timbul Haryono, the technique for cloth processing has been known even before the Hindu era in the Nation at about the 4th Century. The evident is cited in num-bers of ancient artifacts and statues.

Numbers of artifacts from the 9th Cen-tury acclaim that, the types of cloths pro-cessed are done through a technique sim-ilar to batik. One of them is the Balitung Artifacts that tells the story of a palace ball. “The description of this cloth is similar to the technique now known as batik. From these evident I’m convinced that batik is a Javanese native culture,” Timbul said.

The evident was also supported by the apparels on ancient statues. The motives on those stat-ues’ apparels have similarities to the kawung batik that is known nowadays. However, the origin of the word “batik” is still yet to be traced until now. From the likeness of sound, some assume that “batik” is made of two Java-nese words, which are “amba” and “titik” that means to make dots. But still, there is no solid proof of that assumption.

Timbul said that batik is not a sudden inven-tion. The processing technique is the result of a cultural process that is inherited for generations. The history of batik development in Java itself has even begun since prehistoric time. “But since the evident is rather minimal, then it is hard to trace,” he claimed.

The batik workers in Giriloyo and Karangtengah, I,ogiri, ad-mit that their skills in batik printing is inherited from gen-erations. Their ancestor’s skills came from the Keraton Jogja-karta. “This is inevitable from the regional factor that is close to the graveyard of Imogiri past kings. They are taught by the palace people during visits to the grave,” revealed Suryati (35), a craftswoman of Karangrejek, Karangtengah.

Untl now, there are at least 40 batik workers in Karangten-gah. They use natural coloring with two methods, which are hand-drawn and stamp. The stamp batik just came out recently because consumers often complain about the high price of hand-drawn batik. The said work is sold for Rp. 250 thousand up per cloth, while stamp batik is only for Rp. 50 to 100 thousand per cloth.

It is a totally different way with the traditional batik workers of Banaran, Kulon Progo. They perceive that the batik acclamation from Unesco has done nothing to escalate their livelihood. As long as there is no pride in wearing local batik cloths, the workers will remain in a bad condition. Widodo, a worker from Banaran even bet that out of all the people who wear batik this Friday, not even 10 percent is put-ting on local batik. The majority must wear Pekalongan or Solo batik those are less costly.

In fact, it is the print batik that really sets in the market. What is con-sidered truly batik are those of hand-drawn, stamp, and the combina-tion of both. Print batik is only cloth in batik motive. According to Murdjato Gardjito, General Secretary of the Sekar Jagad Batik Lovers Community, print batik will only destrot traditional batik industry, and also put a scar on the face of Indonesia. Low price has always been the appeal of print batik, such as those sold along the street of Malioboro. Tourists, especially locals, purchase them in bulks as sou-venirs for family and relatives. (Source: Arti magazine, and various other sources).

Teks by Rusdy Setiawan Putra.
Was publish at arti special edition page 38 - 42.

READMORE The Wealth of Batik