Dolorosa Sinaga: Artist, role model<\/p>\n
Fabio Scarpello, Contributor, Jakarta<\/p>\n
Dolorosa Sinaga has been very often defined as a feminist. But
\nin fact she is also an artist, role model and activist.<\/p>\n
Her sculptures represent women's experiences. Grief, loss,
\nanger as well as joy are some of the emotions present in the
\nkaleidoscope of her production. She explores women's body
\nmovements as well as community emotion and human connection.<\/p>\n
The women she features are those victimized but not defeated.
\nThey fight and draw strength from each other. A sense of
\n\"togetherness\" is tangible and consistent in her work.<\/p>\n
In Indonesia more than half the population are women but they
\nare still considered inferior to men. In such a society it is
\neasy to see why Sinaga is considered a feminist. It all comes
\ndown to identity.<\/p>\n
Althusser, a 19th century French philosopher, defined identity
\nas the \"image we have of ourselves, and according to which we
\nrespond when called\". Here a gender-biased educational system,
\nand a macho sociocultural apparatus shape woman's identity.
\nUnsurprisingly, television programs stereotype women as
\ndependent, cooperative and passive.<\/p>\n
Sinaga begs to differ. Her work offers women a different
\nidentity, with no figures representing virginal purity, or
\nsensual temptresses. Her women live in today's \"real\" world,
\nimpregnated with difficulties, and most importantly they fight.<\/p>\n
Her contribution to the women's cause has been noticed. In
\n1994 she was presented the Krida Anodya award for her outstanding
\nachievements as a woman sculpture by the minister of women's
\nempowerment.<\/p>\n
But women are just a metaphor to her. She is far from the
\nangry, hairy feminist who burns her bra. Her ideology goes deeper
\nthan that.<\/p>\n
\"I am an artist who is against injustice in society. In
\nIndonesia women are a target of injustices and that is why I give
\nthem a voice.\"<\/p>\n
Her experiences abroad were instrumental in forming her
\nideology. After graduating from the Jakarta Arts Institute (IKJ)
\nin 1977, Sinaga moved to London where she lived for three years
\nand obtained a Master's degree at the prestigious St. Martin
\nSchool of Art in 1983. At Berkeley, near San Francisco -- where
\nshe lived for a year -- she studied the Finest Method of Bronze
\nCasting.<\/p>\n
\"London and San Francisco gave me a means of comparison.
\nLiving there certainly widened my perspective; I came into
\ncontact with the people's movement and realized how great a
\npolitical pressure they can apply. Over there, the lower classes
\nare aware of their social rights, and I realized how this helps
\nthem close the gap with the middle class. When I came back to
\nIndonesia I could not accept anymore the social inequalities and
\ninjustices.\"<\/p>\n
But she is an artist and not a politician. Her message is
\nclear and strong but the medium she has chosen to propagate it is
\nsculpture and not the legislature. But her impact is equally
\neffective.<\/p>\n
To Sinaga, art is a mean of social progress.<\/p>\n
\"Art is the best tool to make minds productive and to make
\npeople ask questions. Especially to children it can be a mind
\nopener. I don't expect every child to become an artist, but I
\nbelieve that every child should be in contact with a creative
\nenvironment. Art allows children to experiment. Results -- of any
\nlevel -- bring pride, and proud people aim higher. This, in time,
\nwould make a chain reaction from which society as a whole would
\nbenefit, becoming more productive.\"<\/p>\n
Hers are not empty words. Sinaga makes things happen and
\ninvolving the young generation has been a constant in her life
\nfor years.<\/p>\n
She is currently dean of the School of Arts at the Jakarta
\nArts Institute. Students gain from her experience and enthusiasm.
\nSome of them work in her studio and their works are proudly
\ndisplayed next to hers. Also when she exhibits, there is always a
\nspace reserved for children where they can dirty their hands with
\nclay.<\/p>\n
She does not just wait for people to come and experience art.
\nShe is well aware of the cultural and economical barriers of the
\nlower classes, so she takes art to them. Together with a close
\ngroup of like-minded friends, she takes regular workshops for
\nunderprivileged children at Sanggar Akar, an organization
\nconcentrating on improving children's basic education and
\nwidening their opportunities through various art forms.<\/p>\n
But in the final analysis, an artist is judged on the
\naesthetical merit of his artwork. Sinaga's \"auteur signature\" is
\nevident in the reoccurring themes of her art in relation to time
\n(the present) place (here) and subjects (women's experiences).<\/p>\n
The common denominator is the fluidity and energy oozing from
\nthem. More than just viewing Sinaga's art, it seems to invite you
\nto partake in the dance, in the protest, in the grief. The visual
\nmessages transpiring from her works stirs emotion in men as well
\nas in women across the world.<\/p>\n
Her art may be rooted in Indonesia but her message cannot be
\nlimited to a country. She represents the pinnacle of Indonesian
\nsculpture because her art transcends gender-appeal, cultural
\nlimits and local identification.<\/p>",
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