In Jakarta and Yogyakarta, the election brought renewing hope
Laine Berman
From a distance we heard the deafening roar of scooters, shouting voices, the honking of horns and blaring music, all under the pale yellow-grey blanket of exhaust emissions which already hung heavily in Jakarta's morning sky. We approached Jalan Thamrin with apprehension, caused by terrifying memories of previous election campaigns. In 1992 in Yogya I witnessed the naked violence and widespread fear of Indonesian street campaigns: the threatening spectacle of scooters with no mufflers, their 'ninja' drivers and menacing passengers with sticks in hand ready to use on any bystander who failed to raise the appropriate hand signal. This was Jakarta, it was day one of the campaigns, and I was scared.
The first day of campaigning was the only one when all 48 parties were permitted to march. 'Experts' of all kinds predicted riots. But from the moment we reached Jalan Thamrin and began the hike south to the Hotel Indonesia roundabout, all my concerns disappeared. Instead of open intimidation, we had a celebration. Vehicles from one party happily gave way to the next. Buses carried flags from many parties under the banner 'Bis Koalisi'. People helped each other. Whereas in 1992 Chinese bystanders were harassed for 'petrol money', now they too were visibly relieved and joined the throngs on the roadsides. When we finally reached the roundabout, the carnival atmosphere was in full swing with acrobats, clowns, floats, colourful banners, and a great deal of good cheer. Jakartans had beaten the odds, confounded the 'experts', and enjoyed themselves immensely to boot!
In Jakarta and in Yogyakarta the campaign and the election itself went surprisingly well. Very few incidents marred the festivities. On June 7th, in my kampung in central Yogyakarta, men sat in the shade of the fruit trees in my front yard discussing politics. They joked about the old days before reformasi, when nobody bothered to vote yet the kampung tally still showed full participation for Golkar. Now things were different. Men of all ages were enjoying the atmosphere, while women lined up to vote first. 'Women shouldn't have to stand in the heat', the men said as they stepped aside to let the women through. The process was long. It took over an hour from queuing up to casting the three ballots to confirming their legitimacy to staining a finger in ink (meant to prevent double voting). No one complained. Everyone seemed to enjoy the experience and the chance to discuss it all with neighbours.
For weeks prior to this day, TV, radio, and all print media educated the nation on the voting process. Each night speakers from the different parties were introduced through open debates and speeches. Immediately upon Suharto's resignation, the talk show format seemed to have taken over evening TV. Now there were discussions of election topics, reviews of party platforms, training videos, guest speakers, and viewer call-ins. Through TV videos, advertisements, posters, pamphlets, and print media cartoons, the nation was assured that this election was unlike all the previous ones.
Women's voice
People were taught to recognise various ways of cheating, and to reject gender bias by assuring women that their votes were personal and very important. Women make up over half the electorate. Media campaigns incessantly told them that 'for the first time, we do have a voice. Women will determine the nation's future!' TV ads assured women that their vote was secret and should be cast for the party that best supported women's issues. Disappointingly, no one I asked knew of such a party.
Other ad campaigns encouraged voters to follow their own preference and conviction and not just follow husbands, village heads, or religious leaders. Yet others warned of 'politik bayaran' or vote buying. They actually encouraged people to take the money but vote according to their preference. As the day approached and for weeks afterward, the media campaigns shifted. Now, the nation was encouraged to accept the outcome as free and fair, regardless of who won. Scenes showed friends and family fighting over differences of opinion, then pointed out how wasteful such arguments were.
No one doubted the significance of this election. Everyone in my kampung said how important they felt personally. While most agreed that no candidate stood out as a true leader, all felt confident that Indonesia was finally on the mend. After the polls closed, as many people as the hall could fit took part in the counting. Many kept their own tallies. During three days of counting, the crowds in the hall and those hanging around outside never abated. Nor did their enthusiasm and desire to be part of the great occasion. Fathers led me to the window of the hall to point to their sons and daughters and with great pride said: 'That's my child, an election monitor!'
During the long counting process, each ballot paper was read out aloud. Each one was greeted by a flurry of comments: cheers (Megawati's PDI-P), boos (Golkar), laughter (the youthful PRD). Any discrepancy was carefully checked. On the night of June 7 and for the rest of the week, kampung celebrations were visible all over town. Men gathered in roadside party huts ('posko') to shave their heads and/or to cook dog meat stew, both common ways of giving thanks and celebrating a blessing. Their reasons were numerous. 'No, I didn't vote for Mega, but that doesn't matter. What is important is that the election was a success.' 'We are celebrating the new era for Indonesia.' 'We are celebrating because Golkar is finished.' 'We don't care who wins as long as it is clean.' 'Yes, it will take a long time to clean up Suharto's mess, but we have already begun!'
The only people who remained cynical and had no inked finger (alias they didn't vote, saying they were 'Golput') were the older generation of Yogya activists. These were the university students who had helped Muchtar Pakpahan create the labour union SBSI, had helped Megawati rise in the PDI and later to form PDI-P, and had helped Amien Rais form his PAN, among others. Before Suharto's fall they had pitched in to write their platforms, and organised their rallies and protests. Many of them had now graduated (or dropped out) and are working for non-government organisations. They felt they knew the candidates too well. They were too familiar with their flaws to vote for them.
Open minds
All in all, the changes Indonesia has experienced (in some places) since 21 May 1998 are phenomenal. In just over one year a wave of openness has flooded into the media, the streets, the kampungs, the campuses, and people's minds. Rather than blindly follow provocateurs, people are beginning to feel their responsibility in the future shape of the nation. They question the motives of troublemakers.
The group of men I sat with as they waited for the women to vote talked about their roles in preventing corruption and in ensuring the next president really does represent the people. The idealism I witnessed was touching, if not a bit naive. Indonesia has a long way to go before the effects of oppression, social inequality, and institutionalised violence subside. At least in the kampungs of Yogyakarta and Jakarta, the 'little people' are ready to face the changes. Let's hope both the old and the new generation of leaders can do the same.
Laine Berman is a research fellow in the Centre for Cross-Cultural Research, Australian National University.
Inside Indonesia 60: Oct-Dec 1999
Fifty years ago, Indonesian nationalism was open to the world
Goenawan Mohamad
On 29 July 1949, a Dakota aircraft crashed near Maguwo, Yogyakarta, killing three officers of the Republic of Indonesia Air Force. A civilian aircraft, on a flight from New Delhi, it was carrying medical supplies donated by the Republic of India to the Republic of Indonesia. Its broken fuselage still bore the letters 'VT-CLA'. Reports suggested the Dakota had been pursued and shot down by fighter planes of the Royal Netherlands Air Force, which controlled the northern part of Java.
A youth of 17 visited the crash site. He was not a photographer, but he wanted to record what had happened. He was a painter, and he made a drawing of what was left of the plane, hoping that it would stand as a witness: a civilian aircraft shot down without compunction by Dutch troops intent on using military might to take back control of Indonesia.
Now, in 1999, that young man is recognised as one of Indonesia's foremost painters, Srihadi Sudarsono. But it has taken 50 years, until his first exhibition at the Lontar Gallery in Jakarta last week, for Srihadi's priceless collection of drawings of the battles and negotiations of the revolution to become widely known. Not all of his work has survived. Most of it in fact was lost in a fire that destroyed one of the buildings which played a key role in the events of the revolution. But at the Lontar Gallery I was privileged to see not only the remains of the Dakota, but also the figure of a guerilla fighter riding on a train, a group of Dutch soldiers ransacking a private home in Solo, the face of Bung Karno, the face of Moh. Roem, and a group of foreign diplomats at Kaliurang, Yogya, people who - thanks to the UN - were trying to deal with the problems that arose with the end of colonialism in Indonesia.
Indonesia 1949, Indonesia 1999. Srihadi himself is maybe unaware of this, but someone looking at his drawings will easily pick up on a difference, a depressing contrast between then and now.
Half a century ago, the outside world - together with a young and vigorous UN - came to the aid of Indonesia, a weakling in the face of overwhelming odds. Now all we hear is pointed criticism from the rest of the world, directed at a big and brutal Indonesia intent on destroying little Timor Leste (and failing in the effort).
Indonesia then, Indonesia now. A half century ago the leaders of the Indonesian Republic noted with conviction and emotion in the preamble to their new constitution: 'Whereas freedom is the right of all nations...'. They stood firm in their belief that freedom was a right that everyone had to recognise because it was one expression of universal values. Now we only ever hear the phrase recited with indifference. For the last 40 years, the leaders of Indonesia have tried to proclaim that there is no such thing as universal values. We cannot be measured by 'Western' standards, they cry. We have our own democracy, we are unique, you know, you must understand Javanese culture, Asian values.... It's as though for oppressed peoples there is some essential difference between Indonesian military cruelties and, say, the tyranny of the Portuguese.
The crash of a Dakota aircraft carrying medical supplies from the outside world. A number of foreign faces at a meeting in Kaliurang. In Srihadi's 1946 drawings there is no implication in the way foreigners are drawn that they are something to be feared, something weird or distant from ourselves. When he makes a drawing, Srihadi doesn't only record an event. As a soldier who knows what a war of independence means, he also records an attitude. In the lines of his drawings, we can sense that the Indonesian revolution - and Indonesian nationalism - contained no suspicion of the 'outside', was not closed to what was 'foreign'.
From Srihadi we learn that the Indonesian revolution was not something 'inward looking', the kind of revolution that could emerge from, for example, the ideology and actions of the Khmer Rouge when they went about building a republic in Cambodia. Srihadi's record of events shows that even in the midst of its war of independence, Indonesia was an open book. The outside world came and looked, and skinny little Indonesia stood up boldly before it.
On a street wall in Jakarta, around November 1945, the young independence fighters wrote in large letters, in English: 'Give me liberty or give me death'. They were not addressing Indonesians themselves. The words were those of Patrick Henry, an American, spoken in the face of British colonialism in the 18th century. By quoting them, the young Indonesians seemed to want to remind the outside world: the voice of an American patriot in the 18th century is the same as the voices of Indonesian patriots in 1945.
How eloquent they were, how different from the gun-bearing, speechless wearers of safari suits we see all around us now. The outside world had to be convinced, because we were right. There was nothing that needed to be covered up, because we had no cause to be ashamed. Just like the conviction of the revolutionary troops of the 1940s who mobilised painters like Srihadi: they wanted to make a record of events, even if only in painting, at a time when they didn't own cameras. They didn't want to lose the traces of where they had stood. They were not thieves. They were making a history, one that also has meaning for people in a different place, at a different time, in a new millenium.
Goenawan Mohamad is a poet and senior journalist. This article appeared in Tempo magazine, 10 October 1999. It was translated, with permission from the author, by Keith Foulcher (keith.foulcher@asia.su.edu.au).
Inside Indonesia 61: Jan - Mar 2000
President Gus Dur's cabinet breaks much new ground. Inside Indonesia highlights eight of its 37 members.
Abdurrahman Wahid (President)
In all that has been written about Indonesia's fourth president, little has been said about one outstanding passion which dramatically distinguishes him from his predecessors, Suharto in particular, namely his long record of support for civil society in Indonesia and internationally. He created space for many community initiatives by lending his name and protecting them from official harassment. These included Infid, a key coalition of over 100 Indonesian and mainly Western NGOs concerned to promote a human rights approach to Indonesia's often repressive development programs. At Infid forums when the prevailing wisdom counselled compromise, it was often Gus Dur who would advocate the bolder course, particularly on human rights. East Timor was no exception. Gus Dur was the first prominent Indonesian to dialogue with Jose Ramos Horta, whom he met in Paris in the early 90s. In a bold move to improve people-to-people relations with Indonesia, Australian NGOs invited a delegation of their Indonesian counterparts to visit in 1987. Anxious about the reception they would get on issues like East Timor, the Indonesian NGOs asked Gus Dur to lead the delegation. As so often happened, he agreed but then had to pull out. But his endorsement was really all that was needed. The visit was a success. Suharto retarded Indonesia's development by repressing civil society. There are good reasons to hope that Indonesian civil society and Australia-Indonesia people to people relations will thrive during Gus Dur's term as president.
Alwi Shihab (Foreign Affairs)
Born in South Sulawesi into a well-to-do family of Arabic descent 53 years ago. He first met Gus Dur three decades ago when they studied Islam together in Cairo, and they have been close friends since. Gus Dur did not finish his degree, but Shihab did - a master's and a PhD, then another master's and PhD in the US, all in religious studies. Taught comparative religion at Temple University and Hartford Seminary in the US from 1993. Has written widely in the Indonesian media on the need for 'active' religious tolerance. After Suharto resigned, Gus Dur asked him to leave academia and support his bid for the presidency. Alwi Shihab spent the next 15 months as perhaps Gus Dur's main political operator. As one of several chairmen of PKB, he worked hard to bring together Megawati's PDI-P and Amien Rais' PAN into a loose reformist alliance. His older brother Quraish Shihab is close to the Suharto family and served as minister of religion in Suharto's last cabinet. Though comfortable in the West, the job of Foreign Minister will be a huge challenge for this gentle religious scholar.
Erna Witoelar (Housing and Regional Development)
One of only two female ministers (the other is Khofifah). Born in South Sulawesi in February 1947. Civil society activist with excellent international contacts. In 1991 she was elected chairperson of The International Organisation of Consumers Unions, the first woman from the developing world to hold this position. Chairperson of the Indonesian environmental umbrella Walhi in the mid-1990s. Indeed Walhi wanted her as environment minister. In 1998 she supported a half-hearted presidential campaign by former Environment Minister Emil Salim. Reportedly refused an invitation to sit on Habibie's cabinet in 1998. In 1999 she represented the general Indonesian movement of non-government organisations to the inter-governmental funding group for Indonesia CGI, to the World Bank, to the UN Development Programme, and as an appointed member to the Consultative Assembly MPR. She was also active in the poll monitoring activities of KIPP. Married to Rachmat Witoelar, former Golkar secretary-general (1988-93) and Indonesian ambassador to Russia, who remains politically active in the National Front (Barnas).
Rear Admiral Freddy Numberi (Administrative Reform)
Born 52 years ago in a village on Serui near Biak, West Papua/ Irian Jaya. Joined the navy in 1968 and became the first Papuan in the armed forces to reach senior officer rank. Is now the first Papuan to become a member of cabinet. In April 1998 he was appointed governor of Irian Jaya. Before that he commanded the naval base in Jayapura that covers Maluku and Irian Jaya. In his brief stint as governor he seemed more often swept along than in charge. No one applauded him when he assured demonstrators in mid-1998 that President Habibie had promised autonomy. On 26 February 1999 Numberi, who had often said how impossible independence was, found himself amid a 100-strong delegation to President Habibie that unanimously demanded independence. Threatened to resign in anger last October when the Interior Minister broke Irian Jaya into three provinces without consulting him. The breakup is widely condemned in Irian Jaya. In cabinet he has the opportunity to become de facto minister for West Papuan affairs as well. It may not be a job he relishes.
Hasballah M Saad (Human Rights)
Born into a poor rice-farming family in Pidie, Aceh, 51 years ago, he taught in an isolated primary school for 7 years before becoming a human rights activist for the next 15 years. He was imprisoned for 15 months in 1978 for criticising Suharto. In 1998 he was among the most outspoken Acehnese demanding the military be held accountable for years of killing and rape. In 1998 he joined Amien Rais' National Mandate Party (PAN) and was elected to parliament in the 1999 elections. He was also a member of the commission that implemented the new electoral system. The creation of his ministry suggests a new seriousness to tackle the cycle of violence of the Suharto era. Hasballah is a strong supporter of a federal structure for Indonesia. He will effectively be the minister for a democratic resolution in Aceh, but his interests extend throughout Indonesia.
Khofifah Indar Parawansa (Women's Affairs)
At 34 the youngest member of cabinet. She was an activist in the NU-related Indonesian Muslim Student Movement (PMII) while studying political science in Surabaya, graduating in 1990. Through the 1992 election she entered parliament (DPR) with the Islamic PPP party. In the March 1998 Consultative Assembly (MPR) session she read a PPP statement critical of President Suharto. When NU activists set up PKB in July 1998 to contest the 1999 election she moved across to that party with Gus Dur's encouragement. She became its main spokesperson on gender and other issues, in the face of religious conservatism even within her own party. At first she supported Megawati rather than Gus Dur for president, partly for feminist reasons, but she admires Gus Dur for his religious tolerance and acceptance of women in leadership roles. Married with three children.
Marzuki Darusman (Attorney General)
Born into a diplomat's family in Bogor, West Java, in 1945. Spent much of his early life overseas, learning fluent English. Graduated in law from a Bandung university. His determined work to build up the credibility of the National Human Rights Commission, which Suharto established in 1993, earned him a well-deserved reputation as a human rights advocate. However, he is just as much a Golkar politician, having sat in parliament since 1977. In the months before the June 1999 election he emerged as the only hope Golkar had of making itself acceptable to the public, but it was not enough. More hopes ride on this attorney general than ever before. He needs to clean up his deeply corrupt department, then prosecute key individuals of the Suharto era for corruption and for human rights abuse. Some fear that, his liberalism and human rights reputation notwithstanding, a lifetime career in Golkar might make it difficult for him to prosecute fellow Golkar members.
Ryaas Rasyid (Regional Autonomy)
Born in South Sulawesi in 1949. Will be the key administrator in this cabinet. His appointment reflects the urgency that the new government places on finding a non-violent resolution to dissatisfaction in regions such as Aceh, Riau, Kalimantan, Ambon and West Papua. Rasyid is a non-party-political bureaucrat highly educated in politics and public administration in the US (Northern Illinois 1988 and Hawaii 1994). With a team of academics he drafted the key legislation for the democratic elections of June 1999 in just a few months, beginning immediately after Suharto resigned. He led a government academy of public administration until appointed to a powerful post overseeing regional autonomy within the Home Ministry in July 1998. From here he also designed new legislation that will bring greater autonomy to regions outside Java, in an attempt to stop them seceding. He says the legislation 'is federalistic in all but name'.
Inside Indonesia 61: Jan - Mar 2000
Wahid's presidency may herald the end of Indonesia as we know it.
Michael van Langenberg
The Jakarta Post on November 10 editorialised as follows:
The central government must do away with its obsession with national unity and start giving real autonomy to the regions. The government must not offer half-hearted measures if it wants to spare this nation from disintegrating. Barring complete separation, the ultimate form of autonomy is federalism.... Ultimately, the real threat to disintegration.... comes from Jakarta.
The New Order regime from its inception in 1966 constructed a state-system in which two factors predominated. First was an idealised nation conceived in the official motto of 'Unity in Diversity' (Bhinneka Tunggal Ika). Second were notions of an 'integralistic' state resting on 'family' principles, designed to protect an archipelaegic unity (wawasan nusantara). From its very beginning in 1945 there has been a crucial contradiction in the Indonesian state-system between ideal legal principles of regional autonomy, and the reality of an increasingly centralised national state.
The collapse of the Suharto presidency in 1998 may mark the end of a century-long process of bureaucratic centralism in state building. That process began with the consolidation of the imperial state of the Netherlands Indies at the turn of the 20th century. In its later stage, Suharto's presidency came to resemble the imperial governor-generalships, supplemented with resonances of pre-colonial divine kingship. Suharto's presidency ended amid a massive loss of popular legitimacy. National government itself was perceived widely as corrupt and nepotistic, responsible for abuses by the military, greedily appropriating regional resources, and culturally arrogant.
In the past decade, coherent independence movements emerged in several territories of the state. East Timor is now on the road to full independence. Aceh seems destined to achieve either independence or some kind of special 'federalist' relationship with Jakarta in the immediate future. Irian Jaya has just been divided into three provinces, creating increased local resentment against what is perceived as a further example of Jakartan imperialism. Increasingly coherent movements for regional 'autonomy' are now also active in the Moluccas (in two areas), Sulawesi (more than one!), Riau, West and East Kalimantan, West Sumatra, and Bali.
Dispersal
How will the new government headed by President Abdurrahman Wahid deal with these movements? Executive government is vastly weaker than a decade earlier. The legislature is now more powerful and more legitimate than at any time since the mid-1950s. It has successfully restricted presidential incumbency to two five-year terms, and made the president answerable to parliament once a year. The chairman of the Peoples' Consultative Assembly (MPR), Amien Rais, is a prominent advocate of a federalist state. Popular legitimacy of the internal security functions and political role of the military is now lower than at any time in the history of independent Indonesia. The ruling oligarchy of the New Order no longer dominates the economy to the extent it did prior to the economic crisis of 1997-98. Conditions are ripe for a significant dispersal of power within the Jakartan empire.
Supporters of Wahid and vice-president Megawati Sukarnoputri present their political partnership as an integrating leadership 'duality' (dwitunggal), echoing that of Indonesia's two independence 'proklamator's Sukarno and Hatta. Like them, Wahid and Megawati reflect a partnership of Islamic identity and secularist orientation. Similar echoes of the earlier dwitunggal are heard in Wahid's stated preference for a federalist Indonesia, while Megawati has emphasised commitment to her father's vision of a centralised unitary state. However, unlike the symbolic regional duality of Java/Bali and Sumatra/'outer islands' of the Sukarno-Hatta dwitunggal, Wahid and Megawati constitute an emphatically Javanese variant of national political culture.
The new cabinet has been designated the Cabinet of National Unity. In reality it is a cabinet of compromise and coalition building. It brings together conflicting political forces - rural Javanese Islam, modernising reformist Islam, secularist nationalism, federalists, unitarists, military professionals, internationalists, protectionists, liberal democrats. It reflects the broad coalition that Wahid built within the MPR in October to gain the presidency. In a sense this was less a coalition to ensure that Wahid became president than to ensure that Megawati did not. Once the Wahid-Megawati dwitunggal was in place, the cabinet had to accommodate the wide range of interests behind it. These negotiations saw the cabinet increase from Wahid's initially intended 25 to an eventual 35 portfolios. Policy coherence might prove impossible. Executive government instability is a distinct likelihood.
Alongside 'reformasi', 'referendum' has entered the dominant national discourse. The former emphasises a new era of 'moral' politics, with national leaders seeking popular legitimacy as a matter of priority. The latter discourse, on display most vocally in East Timor and Aceh, has placed the debate about federalism and secessionism at centre stage. The 'Jakartan empire' is facing far-reaching structural change.
Michael van Langenberg (mvl@asia.usyd.edu.au) is a private consultant and researcher on contemporary Indonesia and Southeast Asia, and fractional employee in the School of Asian Studies, University of Sydney.
Inside Indonesia 61: Jan - Mar 2000
With Suharto gone, Indonesia's most outrageous anti-Suharto artist chooses exile. Why?
Astri Wright
Born in blood by the authority of guns, the New Order's preferred art was sweetly decorative and/ or abstract-spiritual. Fine art genres in themselves, they were also seen as politically toothless, thus 'safe' to a regime which in terms of citizens' rights could bear no scrutiny. However, the injustices of Suharto's New Order, in combination with its ultra-conservative art establishment, ensured the return of politically engaged art by activist painters and poets. Beginning after a ten-year hiatus following the decimations of the 1965 massacres, this gradual return ensured a tenuous existence for engaged art from the late 1970s onwards.
By the early 1990s, the upsurge in Indonesian artists' interest in installation art coincided with a broader interest in political dimensions to art, to the point where the two combined to become a 'must' for artists desiring international visibility. From now on, politically engaged art bore the two faces of fashion and serious concern. No doubt, the last two years have conscientised larger numbers of artists than at any time in the last thirty-two years. At the same time, the intense uncertainty and hardship of this time of transition has led to some surprising changes for artists, which reflect the larger confusion: after the tyrant is gone, what does one put in his place?
Semsar Siahaan, now in his late 40s, was on the art-activist barricades from the late 1970s, one of the most outraged and outrageous of them all. While others limited their critiques of Indonesia's establishment aesthetics and internal colonialisms to their art and private conversations, Semsar went several steps further. He made the news by burning one of his art teacher's sculptures, Sunaryo's West Irian in torso, at the Bandung Art Academy (ITB) in 1981. This avowed 'cremation' led to Semsar's expulsion from the school. The event launched him as someone who placed the private completely within the political realm and who felt that any means were valid, as long as his point was made, and made the public think. The last twelve years, Semsar has received significant attention at home, in Japan and in Australia, with his large, even monumental canvases that depict the struggle of the people against the greed and hypocrisy of the business and political elites, ever witnessing and holding up to view events that could not be discussed freely.
So how can it be that, today, with Suharto gone and a new Indonesia in the pangs of being birthed, and after twenty-odd years of fighting, Semsar has chosen to go into exile? And not to a country with any Indonesian resistance in exile, like Germany, Australia, Holland, or even the USA - but to Canada?
Semsar is not the only one who has left Indonesia in the last few years. Several activist artists have left for shorter or longer stays abroad. The mental toll of going against the dominant grain of their nation year after year, with the apparatus of control reaching right into their homes, is heavy. But none has sought permanent domicile elsewhere. Of all people, Semsar has.
Going Canadian
In February 1999, Semsar Siahaan arrived in Canada as a visiting artist and speaker at the University of Victoria, in 'Beautiful British Columbia' (also known as 'Britishful Beauty Columbia'). His visit was arranged in record time, via nightly letters, faxes, memos and phone calls back and forth to Singapore after he contacted me in early January, sick and depressed. Semsar arrived thin and drawn, his hair all grey - no longer the energetic young fighter I had met eleven years earlier while doing my PhD research. After setting him up in a rented room and a studio and catching up on news, the task of networking to draw people to his talks began.
As luck would have it, Semsar's first week here coincided with the week-long visit of radical young writer-journalist Seno Gumira Adjidarma, and the brief visit of another Indonesian writer-journalist living abroad, Dewi Anggraeni, from Australia. This brought a sense of community to people interested in Indonesia. Semsar's three months hosted by the University of Victoria brought many people into contact with what to them was a completely unknown context beyond the issue of East Timor. To those who had experienced Indonesia through travel, work or activist lobbying, Semsar and Seno's presence provided a shot of vital energy for likeminded people.
Whether professors of art history, writers living in exile in Canada from South Africa, students of bahasa Indonesia or the Asia-Pacific region, activists or local artists staging a solidarity exhibition for the struggle in Chiapas - most of those who attended were moved by Semsar's public talks and found his work interesting. His speaking style balanced between the informal and the informative, packaged as a charismatic blend of humour and stubborn adherence to principle and his own role as upholder of truth.
Semsar also began to paint and sketch, both indoors and outdoors. The question arose: what does an activist painter paint after he has become completely worn out by his political and personal traumas? What does an activist painter do who has 'lost his nerve' (as Semsar admitted before eighty people on March 1st, 1999) and left his country, whether temporarily or for good?
In mid-March, Semsar finished his first painting in Canada, a large canvas entitled Black orchid (ca.200cm x 140 cm) begun only a few weeks earlier. The composition centres on the artist's self portrait. As the focal point in the canvas, his face binds together the disparate, turbulent scenes represented all around. In the upper left of the canvas, a mother screams in pain with her head held back and her arms flung out to the sides. Her breasts are shrunken, milk-less, and the infant who desperately clutches at her body is dying. In the upper right of the canvas, men with arms raised threateningly shout and point accusing fingers. Below the artist's face is a pond which reflects his features. But beneath the reflection, under the water, the outlines of still bodies are visible. These represent the sixteen activists Semsar knew who 'disappeared' the year before.
In the early stages of painting, done in pale washes later painted over till the canvas glowed with bright colours, Semsar depicted himself with his mouth tightly closed. In the finished painting, however, his mouth is open. In the end, he claimed the role of active, audible witness to history. Merely observing the events all around him was not enough.
While the guest of our department, Semsar gave two large public talks and had a solo exhibition at the university gallery. On his own initiative, he joined a group exhibition at Open Space, an alternative gallery downtown. Semsar's visit, then, was successful for all parties. But apparently Semsar harboured longer-term plans as well. A few months after his arrival, his request for a political refugee visa was granted. Even more surprising was the news recently that Semsar has now become a 'landed immigrant'. This means he can now officially work, collect regular social welfare (as opposed to the refugee welfare he was getting), and cannot leave the country for more than six months at a time.
At present Semsar is preoccupied with the immigrant's shifting identity. In July 1999 he painted a huge painting on paper entitled Confusion (c.500 x 340 cm), which was exhibited at a show featuring 'Vancouver Island Artists.' His instant membership in such a group perhaps said as much about the curators' desire to host a more cosmopolitan spread than one generally sees in this small government and university town whose main industry is tourism. In this canvas, Semsar depicted his own and other ghostly figures, of people in his past as well as characters from his symbolic cast. Reclining, struggling and reaching across a space defined from left to right, the stage was set between a banana palm tree and an oak, with the outline of European style buildings which resemble Victoria's parliament in the centre. Hard questions
What, one wonders, does an activist artist in exile, enforced or self-imposed, dream at night? How does exile change their work? Other artists in modern Indonesian art history have lived in exile: Basuki Resobowo, Sudjana Kerton, Hendra Gunawan, are some of the better-known examples. Their art fared variously, but none of them ceased to paint Indonesia.
As for future art work, Semsar has some impassioned ideas. One is for a painting and installation exhibition which would feature the New Order as a huge slaughterhouse. While this thematic obviously could not have been realised under Suharto or Habibie, perhaps it will see the light of day in the near future. But will it be shown primarily in Canada, where there is only minimal interest in contemporary Asian art (and mostly Chinese, at that), or will it be seen where it has the most immediate value, in Indonesia itself?
While Semsar from early on played an important role as the extremist exception in an otherwise relatively 'naughty-free' art world, the cumulative effect of observing his style and his work over the last two decades has made some people question the point at which opportunism and self-righteousness take centre stage and push righteousness and integrity to the side. While painting heroes, Semsar's verbal narratives seem to spare no one in the intellectual, activist and artistic world from scathing criticism. While frequently placing himself centrally in the canvas as witness, one begins to get the feeling that he needs to depict himself as an almost godlike presence. While painting women as often as he paints men (and often in sexually explicit poses), to hear Semsar talk about his own suffering, one gets the impression that most of it is caused by women, from childhood onwards.
Analysing the work and the man, many questions arise. While Moelyono created his exhibition commemorating the murdered labour activist Marsinah in August 1993, on the 100th day after her death, why did Semsar only paint his work of Marsinah more than a year after the fact? Was he in fact throwing himself on the wave of the growing democracy-discourse celebrating Marsinah-as-martyr? The ensuing painting, which is stunning, was used as a poster during the Women's NGO conference in Beijing in 1995. But why are the faces of all four women in this painting (entitled Women workers between factory and prison) elongated versions of his own face? What is more, they all wear the same exact expression as Semsar's in a photo of the same year, standing before the painting entitled Selendang abang (1994).
In the last decade Semsar's heroic figures increasingly wear his own features. If not earlier, this began to be evident in his black/ white and oil work exhibited in 1988. The working class hero wearing the yellow hard hat in the monumental oil painting Olympia is clearly a self-portrait. Instead of the technique of playwright Ratna Sarumpaet, which Carla Bianpoen calls 'becoming the figure she personifies', Semsar seems to make his heroes, male and female, into himself. Rather than reaching beyond and transcending his own ego-boundaries, Semsar's is a process of imposing his own marks and signs on others, one might even say of appropriating their heroic deeds for himself.
While Moelyono, Harsono, Arahmaiani, Tisna Sanjaya and others are vocal in post-Suharto Indonesia, and Dadang Christanto is extremely visible teaching and exhibiting in Australia and in exhibitions in Europe and Korea, what is Semsar doing getting permanent residenceship in Canada? And that in a city without an Indonesian population and no visibility, internationally, except as a city of flowers and mock-English scenography for tourists? What is Semsar doing participating in local exhibitions that feature 'Vancouver Island Artists', a few months after he arrives? And what are all the tortured, windblown images of his own features about, watching or reaching out to mostly naked women, both Asian and not?
Going private
Pointing at the water in the lower half of Black orchid, Semsar said in February 1999: 'This is Canada.' He had been painting studies of the pond behind his lodgings. Its reflective surface and revealing depths represented the artist's time away from Indonesia - the chance to withdraw, remember, think and work, living without the constant fear caused by extreme social turmoil and state-sponsored violence.
Perhaps Semsar, now nearly fifty, has decided that there is after all a separation between the individual and the group struggle, between the private and the public. Perhaps, after a life of throwing stones and shouting: 'Down! Down!', Semsar has decided to tend to his own glass-house, first. To spend extensive time alone, far away from everything and everyone, not fighting. And to discover the deeper challenge of how and what to build, constructively, in the nation, after rebuilding the soul.
Astri Wright (astri@finearts.uvic.ca) is Associate Professor of Southeast Asian Art at the University of Victoria in western Canada. For a longer discussion on activist art see her chapter in Timothy Lindsey & Hugh O'Neil (eds), 'AWAS! Art from contemporary Indonesia' (Melbourne: Indonesian Art Society, 1999), pp.49-69. For more on Semsar see www.javafred.net
Inside Indonesia 62: Apr - Jun 2000
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