Jakarta (ANTARA) - Cultural diplomacy is often understood as\nintroducing art, food, clothing and traditions to people in other\ncountries. Through dance performances, batik exhibitions, wayang shows\nor food festivals, Indonesia can build closer ties with international\naudiences.<\/p>\n
Indonesia\u2019s relations with other countries are shaped not only by\ntreaties, trade and defence cooperation, but also by how people in those\ncountries perceive the culture Indonesia presents.<\/p>\n
In reality, cultural diplomacy is not simply the neutral transfer of\nculture from one place to an international stage. When a country chooses\na dance, garment or art form to showcase, it is making a selection.<\/p>\n
That selection does not necessarily stem from an intention to exclude\nparticular groups. Budget and time constraints, as well as the needs of\nan event, also play a part. Nevertheless, the consequences are\npolitical: some cultures gain a national platform, while others are more\noften left in their places of origin.<\/p>\n
Indonesia needs shared symbols. As an archipelagic country with\nhundreds of ethnic groups and regional languages, it cannot present all\nits cultural wealth at once at a single event.<\/p>\n
Showcasing batik, wayang or ondel-ondel, for example, can therefore\nbe a practical way to open a conversation about Indonesia\u2019s\ndiversity.<\/p>\n
Indonesian batik was recognised by UNESCO as Intangible Cultural\nHeritage in 2009, while wayang was listed in 2003 as a Masterpiece of\nthe Oral and Intangible Heritage of Humanity before being included on\nthe Representative List of the Intangible Cultural Heritage of Humanity\nin 2008.<\/p>\n
At national level, ondel-ondel was designated Indonesian Intangible\nCultural Heritage in 2013. These recognitions affirm the cultural value\nof all three, but do not mean that batik, wayang or ondel-ondel can\nrepresent the full diversity of Indonesia\u2019s traditions.<\/p>\n
Problems can arise when the chosen symbols are presented repeatedly\nand come to be seen as a complete picture of a nation. Batik, for\ninstance, is so strongly associated with Indonesia\u2019s image that people\ncan easily forget how much more diverse the archipelago\u2019s textile\ntraditions are.<\/p>\n
Batik is also far more than a decorative pattern. UNESCO explains\nthat its techniques, symbolism and practices accompany people through\ndifferent stages of life, from birth to death. Its motifs also reflect\ncross-cultural influences, including Arab, European, Chinese, Japanese,\nIndian and Persian influences.<\/p>\n
Wayang, too, encompasses many forms, traditions and social settings.\nIn other words, the culture presented as a national identity carries a\nhistory of encounters far more complex than an image in a tourism\nbrochure.<\/p>\n
National identity<\/strong><\/p>\n National identity is not a list of characteristics that was complete\nfrom the outset and merely needs to be announced to a global audience.\nIt is formed, sustained and negotiated through education, the media,\nstate policy and public ceremonies.<\/p>\n In cultural diplomacy, the selection of particular dances, clothing\nor art forms can help shape the image of Indonesia known to\ninternational audiences.<\/p>\n Consequently, when diplomatic events repeatedly feature certain\nsymbols, those symbols gain a privileged place in the public\nimagination.<\/p>\n By contrast, traditions that are rarely seen risk being considered\nless important, even by Indonesians themselves. What is at stake, then,\nis not only the opportunity to appear, but also the right to help define\nwhat it means to be Indonesian.<\/p>\n Take ondel-ondel, for example. For the Betawi people, these giant\npuppets are not merely amusing or unusual photo props. Today,\nondel-ondel are also used at ceremonial events, exhibitions, tourism\nactivities, performances and even diplomatic events.<\/p>\n Moving from a local cultural setting to the diplomatic stage\nundoubtedly creates new opportunities to introduce Betawi culture.<\/p>\n However, introducing a culture is different from simply borrowing its\nvisual form. If foreign visitors know ondel-ondel only as giant puppets\nto pose with, the instantly recognisable element may survive while the\nhistory, meaning and people who sustain it disappear. The same applies\nto batik makers, wayang puppeteers, traditional musicians and other\ncustomary communities.<\/p>\n Inviting cultural practitioners is important, but physical presence\ndoes not necessarily mean involvement in decision-making. Someone can\nstand on an international stage without ever being given a voice in\ndeciding how their culture and traditions are presented.<\/p>\n In the name of the nation<\/strong><\/p>\n In cultural diplomacy, the state speaks in the name of the nation,\nbut the nation is not entirely uniform. The interests of the government,\nthe needs of the tourism industry, artists\u2019 perspectives and the\naspirations of communities who own cultural traditions may differ.<\/p>\n The government may want a performance that is concise and easy to\npromote. Artists may want to preserve the integrity of a performance.\nLocal communities may prioritise training a new generation of\npractitioners and ensuring cultural continuity.<\/p>\n These interests do not necessarily have to conflict, but bringing\nthem together requires a process. Without room for dialogue, the claim\nto represent Indonesia can become a unilateral authority to decide which\ncultures deserve to be shown.<\/p>\n A 2019 study of Indonesian arts and cultural diplomacy, published in\nthe journal Bijdragen tot de Taal-, Land- en Volkenkunde, shows that\nusing art and culture in diplomacy has a long history.<\/p>\n Since Sukarno\u2019s era, art and culture have been used to present\nIndonesia as an independent nation with a culture of value. During the\nNew Order, arts scholarship programmes, artist residencies at embassies\nand large-scale festivals also developed.<\/p>\n The journal study also notes the challenge Indonesia faces in\nconfronting international stereotypes that portray non-Western cultures\nas exotic, unchanging or backward.<\/p>\n This means cultural diplomacy is not simply about showing culture; it\nis also an effort to change how others view Indonesia.<\/p>\n Making culture recognisable<\/strong><\/p>\n To attract global attention, cultural products are often packaged to\nbe easily recognised: striking clothing, energetic dances, distinctive\nmusic and visually appealing food.<\/p>\n This approach can effectively open the door to cultural\nintroductions. But if these demands become the main measure, cultural\nproducts that are difficult to stage or do not produce appealing images\nmay be sidelined.<\/p>\n Culture then ends up being judged by its ability to entertain and\nattract attention, rather than by its significance to the communities\nthat practise it.<\/p>\n Yet attracting attention does not always build understanding.\nWatching a dance, for example, may spark interest in a nation\u2019s culture,\nbut it does not necessarily help audiences understand the history,\nvalues and lives of the people behind it.<\/p>\n Deeper understanding requires explanation, interaction with cultural\npractitioners, and opportunities to ask questions and engage in\ndialogue.<\/p>\n Ultimately, the success of cultural diplomacy should not be measured\nonly by how many people watch a cultural performance, but also by the\nextent to which it fosters understanding.<\/p>\n Reforming cultural diplomacy should therefore begin with how\npractitioners are selected and involved. The government can develop\nprogrammes that take turns showcasing cultures from different regions,\nwithout turning every event into an exhibition of all the cultures of\nthe archipelago.<\/p>\n Artists and communities should be selected according to transparent\ncriteria and involved from the planning stage, rather than only when the\nperformance is about to take place.<\/p>\n Budgets, fees, rights to documentation and the distribution of\neconomic benefits also need attention. After an event, evaluation should\nnot stop at counting visitors or media coverage. It should also consider\nwhether new partnerships with Indonesian artists have emerged, whether\ncommunities have benefited and whether audiences have learnt something\nthey did not previously know.<\/p>\n Cultural diplomacy will be more meaningful when the communities who\nown the culture are its principal participants, rather than merely\nmaterial for state promotion.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/ondel-ondel-on-the-diplomatic-stage-1793177723",
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"sponsor": "Okusi Associates",
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