But Jokowi Wasn’t in Power Yet

“I’m watching the hearing of the dispute about the result of the presidential election.”

“Yeah, well, the campaign committee says Prabowo lost cos Jokowi as president abused his power as president to win the presidential election!!”

“But Prabowo lost the presidential election in 2014 too. Even though Jokowi wasn’t in power yet.”

” … “

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Ahok

Poem for Mother

By W.S. Rendra

To recall mother
Is to recall dessert,
Wife is the sustaining main
Girlfriend the side dishes,
And mother
The perfect final,
In the great communal feast of life.

Her countenance is the sky at sunset:
The grandeur of the day that has completed its work.
Her voice the echo
Of the whisper of my conscience.

Remembering mother
I look on the promise of the best in life.
Hearing her voice,
I believe in the good in the human heart.
Looking at mother’s photograph,
I inherit the essence of the creation of the world.

Talking with you, my brothers and sisters,
I remember that you too have mothers.
I shake your hands,
I embrace you in fraternity.
We don’t wish to offend each other,
So we do not insult each other’s mother,
Who always, like the earth, water and sky,
Defends us without affectation.

Thieves have mothers. Murderers have mothers.
Just as corruptors, tyrants, fascists, journalists on the take and members of parliament for sale,
They too also have mothers.

What sort of mothers are their mothers?
Aren’t their mothers the dove soaring in the sky of the soul?
Aren’t their mothers the gateway to the universe?

Would a child say to his mother:
“Mother, I’ve become the lap dog of foreign capital,
Who makes goods which don’t do anything to reduce the people’s poverty,
Then I bought a government mountain real cheap,
While the number of landless villagers goes through the roof.
Now I’m rich.
And then, mother, I also bought you a mountain too,
To be your resting place one day.”

No. This is not something a child would say to his mother.
But how then will a child explain to his mother his position as tyrant, corruptor, forest scourge and mouse plague overrunning rice fields?
Will the tyrant declare himself leader of the revolution?
Will the corruptor and lap dog of foreign capital announce that he’s the hero of development?
And will the forest scourge and rice field mouse plague label himself the ideal farmer?

But, then, what of the beaming gaze of his mother?
Is it possible for a mother to say:
“Child, don’t forget to take your jacket.
Remember to wrap up against the night air.
A journalist needs to stay healthy.
Oh, yeah, and if any fat envelops come your way,
Just pick me up some fried prawns.”

Mother, now I really understand your value.
You are the statue of my life,
Not a fake statue or a white elephant like Monas and Mini Indonesia Park.
You are the anthem Great Indonesia.
You are the rain I watched in the village.
You are the forest encircling the lake.
You are the lotus flower of meditation’s peace.
You are the song of the simple people.
You are the arrow of my conscience in all I do.

Pejambon, Jakarta
23 October, 1977


Poem for Mother (Sajak Ibunda) was published in State of Emergency, W.S. Rendra, Wild & Woolley, Glebe, 1978, p. 52.

#DaruratDemokrasi

Poem for Young People

By W.S. Rendra

We are the stuttering generation
who’ve been treated like children by an arrogant generation.
We haven’t been given official education
in relation to justice,
because we’ve been brought up to not get involved in politics,
and haven’t been taught about the basics of the legal system.

We find it hard to see a person’s true character,
because we haven’t been taught about the soul or about psychology.

We don’t get an explanation based on clear thinking,
because we haven’t been taught philosophy or logic.

Aren’t we supposed
To understand all of that?
Have we only been prepared
To become tools?

This is the average picture
of youth graduating from high school,
young people nearing adulthood.

The basis of our education is obedience,
not exchanging ideas.

School learning is rote learning,
and not learning how to explain something.

The basis of justice in relationships,
and understanding of how humans behave,
as groups or as individuals,
isn’t considered a subject worth studying or testing.

The reality of the world is only dimly visible.
We can’t connect all the signs,
which are visible everywhere.
We are angry with ourselves.
We resent what the future holds.
Then finally,
we just enjoy our ignorance and comfort.

As we stutter,
all we can do is buy and consume,
without being able to create.
We are not able to lead,
rather all we can do is rule –
just like our fathers.

Education in this country is oriented to the West.
Over there children are prepared
to be the tools of industry.
With their industry that rolls on endlessly,
But here we’re prepared to become tools of what?
We just become the tools of bureaucracy!
And bureaucracy has become bloated,
no use at all –
parasites in the trees.

Darkness. All I can see is darkness.
Education doesn’t provide any light.
Training courses don’t provide any jobs.
Darkness. My agony is darkness.
The people are living in unemployment.

What’s happening all around me?
Because we can’t work it out,
it’s easier for us to run and hide in dope poetry.
What is the meaning of all these complicated signs?
What does this mean? What does this mean?
Ah, in drunkenness,
a blood splattered face
is going to look like the moon.

Why do we have to put up with living like this?
A person with the right to a medical degree,
is thought of as an educated person,
without being tested on their knowledge of justice.
Meanwhile, if tyranny runs rampant,
he doesn’t say a word,
because his job is just to give needles.

What the hell? Are we going to continue being silent?
Law students
are just considered decorations for ceremonies,
while the law is stabbed in the back again and again.
Economics students
are just regarded as plastic flowered,
while people go broke and corruption runs wild.

We’re inside a kaleidoscope
that is magic and inscrutable.
We’re imprisoned in a fog that befuddles.
Our hands reach out grasping for something to grab.
And when we miss,
we hit and scrape –
at thin air.

We are the stuttering generation.
Who have been treated like children by the arsehole generation.
Life force has been replaced by lust.
Enlightenment has been replaced by repression.
We are the dangerous generation.

Penjambon, Jakarta
23 June, 1977

 


Poem for Young People (Sajak Anak Muda), State of Emergency, W.S. Rendra, Wild & Woolley, Glebe, 1978, p. 18.

Image of #DaruratDemokrasi from https://www.instagram.com/p/BZGoo6DFQg4.

Amuk Massa Di Kantor LBH Jakarta

tirtoid.id Sunday evening (17/9), a crowd surrounds the offices of Jakarta Legal Aid Institute (LBH Jakarta) following music performances, poetry readings and stand up comedy. https://www.instagram.com/p/BZOKecmhnsm

Editorial: Not the Representatives of the Corrupt

JAKARTA, KOMPAS – The House of Representatives is certainly not the representatives of the corrupt. “The Honorable” people’s representatives are paid with the people’s money. The plan of the House of Representatives Committee of Inquiry into the Corruption Eradication Commission to go on safari to meet corruption convicts in a number of prisons in Indonesia has deeply unsettled the sense of justice of citizens, the taxpayers. As stated by Deputy Chairman of the House Inquiry Committee Risa Mariska (PDIP-West Java), “the Committee wants to uncover information on how they felt while they were witnesses, suspects, and convicts of corruption cases.” Risa is a Representative for the West Java VI constituency covering the Regencies of Bogor and Bekasi and received 25,578 votes in her electoral district. It is very easy to meet corruption convicts in prison. They would be very happy, overjoyed, to tell the House Inquiry Committee about the conduct of the Corruption Eradication Commission while they were questioned, while they were in custody, their beliefs that they are the victims of conspiracies, their feelings of being entrapped and any amount of other inhuman treatment. With that data, the House Inquiry Committee, being driven by a coalition of parties that support the government, will obtain ammunition to dismantle the anti-corruption institution. The aim of the Committee at the very least can be read from the statement of House Deputy Speaker Fahri Hamzah (PKS-West Nusa Tenggara), from the Welfare Justice Party House faction, is to review state commissions such as the Corruption Eradication Commission.

New Art Movement, Project 1: Supermarket Fantasy World Exhibition at Jakarta Arts Center 1987

New Art Movement, Project 1: Supermarket Fantasy World Exhibition at Jakarta Arts Center 1987

Reviewing is the same as disbanding the Corruption Eradication Commission, limiting the Commission’s authority or transforming the Commission into an ad hoc institution. The House Inquiry Committee’s target can actually be read and it is to emasculate the Corruption Eradication Commission. The declaration of some politicians that the Committee is intended to strengthen the Commission has not a shred of empirical evidence. From the beginning, several House of Representatives politicians have been agitated by measures taken by the Commission to erase corruption from this country. There are Representatives on trial, party chairmen and business people who have been arrested. The Corruption Eradication Commission is indeed not without fault. However, the way to correct these mistakes is not to exercise the House’s right to establish committees of inquiry the legitimacy of which continues to be a problem. Members of the House Inquiry Committee should realize that they are the representatives of the people, not the representatives of the corrupt. Corrupt behavior by members of the government has resulted in violations of civil and economic rights of the people.

5 July 2017

 


Source: Tajuk Rencana Bukan Perwakilan Koruptor. Images from Detik Ini 17 Tahun yang Lalu Reformasi Dimulai and Masinton Ungkap Proses Konsolidasi Mahasiswa untuk Jatuhkan Soeharto. Members of the House of Representatives http://www.dpr.go.id/anggota.

 

 

Garuda by Kanva Abas

Black December 1974

One Hundred Thousand for Rubbish Art: A Review of Menanam Padi di Langit [Planting Rice in the Sky] by Puthut EA. Blog post by Wahyudin, January 2017

9

[…] consider the description of Bambang Bujono (Tempo, 11 January 1975): “Neither in the invitation to painters to participate in the 1974 Grand Indonesian Painting Exhibition nor in the guidelines for the judging panel of the exhibition can you find a section normally found in guidelines for judging art exhibitions stating that the decision of the judges can not be disputed.

For this reason maybe, a dispute arose that took the form of the “1974 Black December Declaration” and the delivery of a condolence funeral wreath on behalf of the community to the Jakarta Arts Council for the “Death of Indonesian Painting”. This happened on the last night of 1974 which was the closing night of the 1974 Art Festival at the Jakarta Arts Center (Taman Ismail Marzuki or TIM). About the condolence wreath, it wasn’t effective anyway because the security guards at TIM were the ones who “accepted” the wreath and they then stored it and locked it away in the TIM Dance Studio.”

 

Compare this to the description of Miklouho-Maklai (1998: 36-37). “On 31 December 1974 during the Grand Indonesian Painting Exhibition which was held biennially at TIM an incident occurred which marked the start of the New Art Movement. There was a protest against the judges who had awarded prizes to a number of paintings in the form of a condolence funeral wreath emblazoned with the words, “With condolences for the death of our painting”.

The condolence wreath was delivered on the last day of the exhibition when the prizes were given to the winners of the competition that traditionally accompanied the Biennial. This was intended to publicize the anger of the students at the judges who in their view only valued what they called “decorative and consumerist” painting. The protesters called themselves the “Black December” movement and it was also supported by students from the Indonesian Academy of Visual Arts (ASRI).”

Look at this photograph:

Condolence Furneral Wreath

Condolence Funeral Wreath – “With Condolences for the Death of Our Painting” (Tempo, 11 January 1975)

[…] The first paragraph on page 69 says, “Apart from the wreath, the protesters also wrote a manifesto, many names signed it, especially from Bandung, Jakarta and of course the five people from Yogya.”

The question is, who were the “five people from Yogya”? It is very surprising that even with his overactive imagination, the writer of this book is unable to answer this question.

A short explanation on page 67 of the book makes it possible to speculate about the “five people from Yogya”. But the page only mentions four people, Bonyong, Harsono, Hardi and Nanik Mirna. So who is the person not mentioned? Because the answer is not provided in the book, we have to consider the historical facts about the Group of Five Young Yogya Painters.

As I mentioned earlier, according to Harsono (2013), the Group of Five Young Yogya Painters which formed in Yogyakarta in 1973 under the “guidance” of Fadjar Sidik (painter, STSRI “ASRI” lecturer, and member of the judging panel for the “Good Paintings” exhibition) was composed of five students from STSRI “ASRI” Yogyakarta, namely, Bonyong Munni Ardhi, FX Harsono, Hardi, Nanik Mirna and Siti Adiyati. (Also see Hendro Wiyanto, “FX Harsono dan Perkembangan Karyanya (1972-2009) [FX Harson and the Development of His Work (1972-2009)]” in Re: Petesi/Posisi FX Harsono [Re: Petition/Position of FX Harsono], (2010: 41-187)*; Dermawan T (2013) and Miklouho-Maklai (1998: 33-34)).

At the 1974 Grand Indonesian Painting Exhibition or Jakarta Biennial I, they were invited to participate. Apart from them, five other STSRI “ASRI” students were listed in the catalog who were also invited, namely, Nyoman Gunarsa, Ris Purwana, Suatmaji, Sudarisman and Subroto SM.

Given these historical facts, I hope no reader is tempted to speculate and answer that what was meant by the writer of this book by the “five people from Yogya” is Bonyong, Harsono, Hardi, Nanik Mirna and Siti Adiyati, because such speculation would take one  down the road of historical liars and the anti-“Jas merah” brigade.

How could it be otherwise because you need to know that, although invited to participate in the 1974 Grand Indonesian Painting Exhibition, there were only four members of the Group of Five Young Yogya Painters who signed the “Black December” manifesto, namely, Bonyong, Hardi, Harsono, and Adiyati. (See Harsono (2013); Dermawan T. (2013); Wiyanto (2010: 70) and Miklouho-Maklai (1998: 36-38)). The one person who did not sign the Declaration, of course you can guess, was Nanik Mirna. This is why Nanik did not receive the academic sanction of being “suspended without time limit” from STSRI “ASRI” as was the case with Bonyong, Hardi, Harsono, Adiyati and Ris Purwana. (See “Skors di ASRI”, Tempo, 15 February 1975; Dermawan T. (tt.: 135); Dermawan T. (2013); Miklouho-Maklai (1998: 38) and Dermawan T. (1979: 2)).”

Black December Statement Signatories 31 December 1974

Black December Declaration Signatories 31 December 1974

Black December Declaration 1974

Black December Declaration 1974

Black December 1974 Declaration

Recalling that over the past few years artistic and cultural activities have been carried on without a clear cultural strategy, we have come to the conclusion that art and culture entrepreneurs do not display a shred of evidence of the slightest understanding of the most fundamental problems of our culture. This is an indication that for some time the development of art and culture has been destroyed by a spiritual erosion.

For this reason we feel the need in this black December of 1974 to declare our opinion regarding the symptoms obvious in the works of Indonesian painting today.

1. That although the diversity of Indonesian painting constitutes an undeniable fact, nevertheless this diversity does not in itself represent a positive development.

2. That for development that ensures the continuation of our culture, painters have a high calling to provide spiritual direction which is based on humanitarian values and which is oriented around the reality of social life and which is oriented towards the realities of social, cultural, political and economic life.

3. That creativity is the essential nature of painters who employ whatever means to achieve new perspectives for Indonesian painting.

4. That therefore the identity of Indonesian painting in itself has a clear position.

5. That what has hindered the development of Indonesian painting to date is worn out concepts that continue to be professed by the establishment, art and culture entrepreneurs and established artists.

In the interest of saving our painting, now is the right time for us to award an honor on that establishment, the honor of being a retired veteran of the culture.

Indonesia, 31 December 1974

Signed by:
Muryotohartoyo, Juzwar, Harsono, B. Munni Ardhi, M. Sulebar, Ris Purwana, Daryono, Adiyati, D. A. Peransi, Baharudin Marasutan, Ikranegara, Adri Darmadji, Hardi, Abdul Hadi W


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Source: Seratus Ribu untuk Sampah Seni Rupa.

Images of the Declaration come from Desember Hitam, GSRB Dan Kontemporer.

Image of Garuda by Kanva Abas from Fase Perkembangan Sejarah Senirupa Indonesia Bagian 2.

The Grand Indonesian Painting Exhibition 1974 at the Digital Archive of Indonesian Contemporary Art.   The exhibition catalog.

Gerakan Seni Rupa Baru Exhibition 1987 at the Digital Archive of Indonesian Contemporary Art .

* Rath, Amanda Katherine.  Re: petisi/posisi : F.X. Harsono / Amanda Katherine Rath … [et al.]  Langgeng Art Foundation Magelang  2010