Cartoonist Jango testing the waters
Cartoonist Jango testing the waters
I Wayan Juniartha, Denpasar, Bali
Kadek Jango Pramartha could be easily described as a an who simply does not fit into any existing stereotypes.
Born into a wealthy family -- his father was a successful tour guide and owner of Bali's two oldest art shops -- Jango could have led a luxurious life by merely taking over the family business.
Instead, he chose to be a cartoonist, a job that provides little financial security.
He developed this passion for "making people laugh" during his early years in senior high school. At 23, he started his career as a permanent contributor to the island's largest newspaper, Bali Post.
It took him three years before he reached what he calls the beginning of his "creative maturity", a significant period marked with the birth of Sigug, his original, signature cartoon character.
Sigug, a Balinese word that is literally translated as "awkward", now appears regularly on the Sunday edition of the Bali Post.
As one of Bali's most influential cartoonists, having portrayed the ironies, failures and paradoxes of its people and culture for almost 16 years, Jango could have easily grown into a cynical, pessimistic man.
Instead, he says he's as optimistic as he ever was.
"It's probably because I believe that 'change is glory'. It is impossible to insulate our island, people and culture from the changes inflicted by the global world. However, we do have the power to control those changes so as we will not lose our true character, identity and cultural roots as Balinese," he said.
"Our traditional culture possesses several flaws, such as the caste system, while modern culture has its own weakness. We should have the courage to throw those flaws out of our culture and take what is good from modern culture," he said.
His views of progress and development are clearly shown in his 30 works currently on display in his solo exhibition The Art of Jango Pramartha.
The works tackle various problems of contemporary Bali, from the marginalization of the Balinese farmers, land conversion, the alluring temptation of modern goods and lifestyles, the hidden danger of globalization and the degradation of Balinese Hindus' spirituality.
For many Balinese those problems are sensitive and emotionally charged. Any discussion of them could easily split the population into vehemently opposing camps.
Yet, none of the works exude a sense of anger or frustration. Instead, they are comical, soul-searching and reflective.
"Cartoons are supposed to be funny, to make people laugh and not to make them angry or defensive. Cartoons should be able to elicit laughter -- well, a giggle will also do -- even from the people who are being 'victimized' by them," Jango said.
Moreover, none of the works display moral judgments toward the problems they portray. Jango says he does not take any side in the perpetual quarrel between traditional and modern Bali.
Many people, and some cartoonists, view this neutral stance as Jango's most critical weakness.
"Passing judgment is not my job. I believe that the cartoonist's duty is to give his or her society a slight pinch on the arm, to remind the people of many 'hilarious' developments that are taking place in their surroundings," he said.
The exhibition, Jango said, was another experiment in elevating the status of the cartoon from merely a magazine or newspaper illustration into a fine art object.
"(I'm trying) to transform a cartoon into a single, autonomous and unified entity of meaning that can be interpreted and speak for itself and not depend on its association with other entities, such as the newspaper," he said.
This experiment has been successful. Five works, with prices ranging from Rp 3 million to Rp 5 million each, had been sold by the second day of the exhibition.
The Art of Jango Pramartha will run until Sept. 31 at the Griya Santrian Gallery, Jl. Danau Tamblingan 47, Sanur (0361-288181)