Kartini's unique contribution to the arts<\/p>\n
Carla Bianpoen, Contributor, Jakarta<\/p>\n
The concepts of gender and human rights have existed since the
\ndawn of human history, but their emergence as issues is a
\nphenomenon of modern times. If we talk about gender and human
\nrights, it is actually women's rights as human beings that we
\nmean.<\/p>\n
In the Indonesian scene, it is particularly the Javanese
\ncultural tradition that is prominent in this field, particularly
\nin the Javanese aristocracy. The outstanding writings of Raden
\nAdjeng Kartini (1879-1904), published after her untimely death at
\nthe age of 25, are marked by the impact of a feudal tradition
\nexacerbated by Dutch colonialism on a system that discriminated
\nagainst women.<\/p>\n
As she struggled against the stream and strove to achieve
\nuniversal education for girls, she also set out her all-
\nencompassing vision, which eventually came to fruition in the
\nfive state pillars of Pancasila with a special focus on
\ntolerance, justice and gender equality.<\/p>\n
Analysts consider R.A. Kartini the precursor of national
\nawakening, while Pramoedya Ananta Toer sees her as the first
\nmodern Indonesian thinker, researcher Cora Vreede de Stuers gives
\nher credit for some of the wording of the Youth Pledge, and the
\nYoung Indische Vereniging based their association's guidelines on
\nher ideas.<\/p>\n
Polygamy was a major problem in Kartini's life. Not only did
\nher natural mother, a commoner, fall in status to the second wife
\nafter her father married an aristocrat, Kartini herself
\nultimately had to go against her own life principles when she was
\nmarried to a man who had already a number of selir, or
\nconcubines.<\/p>\n
In contemporary visual arts, the works of Astari Rasjid and
\nNinditiyo Adipurnomo, both born and raised in the Javanese
\ntradition, have opened up the cultural guise of harmony, bringing
\nto light the repressive rules in the Javanese tradition that were
\nparticularly denigrating toward women. Taking issues to the level
\nof universal standards of human dignity, the artists' metaphors
\nare representative elements of the Javanese attire, made national
\nunder the Soeharto regime and particularly represented by the
\nkonde, the traditional chignon hairstyle, and the stagen, a long
\nbelt that Javanese women wrap around their waist to keep their
\nsarong in place, and look beautiful as is prescribed in the
\nJavanese cultural tradition.<\/p>\n
Astari Rasjid's oeuvre, over more than a decade, describe the
\nsituation of women of the Javanese elite, while subtly and
\npoignantly indicating that change is bound to happen.<\/p>\n
Symbols abound as exemplified in the stirring Loro Blonyo,
\nfeaturing a closed antique Javanese door, a woman wearing a white
\nmask sitting in front of it, and a leather wayang puppet, or the
\ncinde wedding cloth with sandals at each end in the installation
\nResurrected Core.<\/p>\n
Her three-dimensional Prettified Cage (1998), featuring the
\nhardships of wearing the Javanese kebaya, or traditional costume,
\nis made of fine stainless steel, and refers to the suffering
\nunderneath the facade of beauty and harmony. In the sculpture
\nAbandoning Virility (2001), parts of the body embellishing the
\nstainless-steel kebaya are set against a Javanese cloth featuring
\na vagina, and reflects upon a woman's life and death, and the
\nfallacy of make-believe.<\/p>\n
Like Kartini, Astari also suggests the changes needed, but
\nunlike Kartini, the artist does it the Javanese way, subtly --
\nyet no less poignant. This is evident in Temple of Efflorescense
\n(1996), a self-portrait in which her body is held in an
\nuntraditional, upright position, her arms straight, gaze firm,
\nand her hands loose. Her international award-winning piece No U-
\nTurn (1999) uses Javanese symbolism as a metaphor for persisting
\nfeudal practices and the emerging forces of change and equality,
\nas visualized in the woman's straight gaze, in the identical
\nposition and height of a man and a woman at opposite sides of a
\ndoor, and the lotus flower expressing the wish for new life, or
\nrebirth.<\/p>\n
For Ninditiyo Adipurnomo, the konde, or Javanese chignon, has
\nbecome his constant muse. Whether round or oval, it is
\nintriguing, just like Javanese culture. And what is more, the
\nkonde raises one's curiosity as to what might lie within the
\nbeautifully shaped arrangement. He observed his mother, his
\ngrandmother and other relatives sporting the style, then grew his
\nhair and eventually found the konde to be heavy, hot and a strain
\non the neck.<\/p>\n
The konde thus became his metaphor for women's burden and
\ntheir subordination to more powerful forces, as well as a symbol
\nof repression and repressive relationships in society.<\/p>\n
One of his earliest works is titled Beban Eksotika Jawa
\n(Javanese Exotic Burden, 1993), while Introversion April 21st
\n(1996) shows his interpretation of the konde in relation to
\nKartini.<\/p>\n
In his installation I am not that kind of particular Javanese
\n(2002), Ninditiyo arranges a rattan chest filled with objects
\nthat is usually put into a book chest, and 20 paintings featuring
\nmen as well as 20 konde made of stone and rattan.<\/p>\n
The traditional chignons, revealed in a variety of shapes and
\nformed out of different media fill his installations, explores
\nhis culture and his visions for change, including the egalitarian
\nrelationship between the artist and his craftsmen, who help
\ncreate his work. In works made with the assistance of his
\nartisans, Ninditiyo usually credits their names alongside his.<\/p>\n
While Kartini practiced similar concepts over a century ago --
\nshe had encouraged the creativity of Jepara artisans as a friend,
\nand helped them export their products to Holland -- Ninditiyo's
\nconcept is fairly new in the world art.<\/p>",
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