Diary spreads 'genuine' Indonesia art worldwide

Diary spreads 'genuine' Indonesia art worldwide

By Amir Sidharta

JAKARTA (JP): Though many Indonesian arts, like batik, bronze
and stone carvings, gold and silver jewelry and tribal sculpture,
have long been known internationally, many folk arts have been
largely ignored. But in 1997 we can almost be sure they will be
recognized and appreciated.

A 1997 engagement calendar book conceptualized by Hermawan
Tanzil of LeBoYe Creations, titled Boeatan Indonesia Asli
(Genuinely Made in Indonesia), includes pictures of various
Indonesian folk arts.

"Art is very much part of daily life in Indonesia," states
Tanzil. "They are not works by famous masters but ordinary
people's creations, representing human yearning for perfection.
Folk arts and crafts are symbols of the everyday traditions that
give Indonesian culture its distinctive character."

"Inspired by their existence, we at LeBoYe would like to pay
homage to these images of Indonesian folk arts and crafts. The
works we present are common -- everyday images that people
encounter everywhere. But because they are so ubiquitous the
images often go unnoticed and unappreciated."

A picture of a terra-cotta money box in the form of the wayang
(puppet) character Gatotkaca appear on the cover of this unique
book. The figure is framed with phrases of pre-Independence
spelling, such as awas djangan kliru barang tiruan (beware of
counterfeit products), terbikin di Indonesia (made in Indonesia),
tjotjok untuk semua (suitable for all needs) and aromanja aseli
(with original aroma), usually found on Indonesian brand logos
and trademarks.

The engagement calendar's design seems fresh because of the
creator's witty choice of items and cynical sense of humor. This
can be seen in the image on the cover. Though the figure is
supposed to be a heroic warrior, he is represented here modestly.
Ironically, the caption for this picture says: "Where else can
you put your money safely? Of course in the Gatotkaca piggy bank.
This wayang hero will protect and guard your assets."

Like all good Indonesian books, the book even includes a
Garuda Pancasila. But here, the symbol of the Indonesian
sovereignty is represented by a Javanese terra-cotta roof ridge
tile, made to commemorate Indonesia's 13th year of independence.

The graphic designer, Tanzil, incorporated many early
Indonesian motifs into the book. The images, which reflect
Indonesia's process of modernization, have much charm.

Textile labels feature interesting images, though designed
along three themes -- nature, animals and technology.

Among those associated with nature are Tjap Makmur, which
shows a farmer carrying a plowing tool, with a water buffalo in
the background, and Tjap Petik Lada, which shows a woman
harvesting pepper. Tjap Rapat Binatang shows a group of animals
gathering around a table in a meeting chaired by a lion, while
Djebakan Mas ("Golden Trap") shows a white mouse trapped in a
mousetrap. The brands which are associated with technology
include Tjap Orang Benang which shows a figure composed of rolls
of thread, Tjap Mobil Waja (Armored Car Brand), Tjap Bengkel
which shows a man fixing a motorbike in a repair shop, and Stang
Scooter (Scooter Handle).

The appearance of the Dakkochan figure in the book will
certainly bring back memories to those who once owned these
inflatable dolls popular among young girls in the 1960s. The
drawings, of vegetables and fruits which appeared in Umbulan
cards, helped children learn botany. Even the rather morbid
designs of rat poison packaging are shown in the date book.

The strong graphic art which appeared in almost-forgotten
Indonesian money, stamps and book covers is reintroduced in the
date book.

Taguan Harjo's Musang Berjanggut comics of the 1950s and R.A.
Kosasih's legendary wayang comics enrich the book. Tanzil's
attempt to credit the known creators of the products should be
commended.

Another graphic appears in the form of advertisement
billboards, and includes an old advertisement board for djintan,
a mint-like pastille, and a European officer with complete
military garb and decorations. Below the figure, the word djintan
is written along with its translation in Javanese, Chinese and
Arabic. This provides evidence of the cultural diversity which
coexisted in Indonesia during colonial times.

The billboard for Keng's beauty sandals, also presented in
Boeatan Asli Indonesia, not only shows the advertisement's unique
graphic design, but also the product's gaudy but imaginative
design. The photograph also shows the ad painter's talent and how
the advertisement would be lit and presented.

Some signs are incorporated into architecture and vehicles. A
row of stadium ticket counters in Mojokerto, East Java, is
embellished with reliefs of a dancer and a rock guitarist,
suggesting the use of the facility other than for sports events.
Sometimes, advertisement billboards are used as building
materials. Paintings on the back of trucks in Indonesia signify
an area of untapped potential for promotion.

Unfortunately, Boeatan Indonesia Asli does not include the
paintings on backs of becak, which were once also very popular.

Although most of the items presented in the book are graphic
images, they are cleverly interspersed among other items of
equally strong visual presence. As a result there is no feeling
the book is overloaded with graphics. Decorative glass paintings,
for example, are clearly graphics, but they always incorporate an
interesting narrative aspect within them.

Indeed most of the items presented in the date book come from
Java, though the bias is due to the knowledge and availability of
the items of Indonesian folk art. Tanzil has shown intention to
show more artifacts from other parts of Indonesia and he can
easily do so in future engagement calenders.

For 1997, satisfaction is guaranteed in Boeatan Indonesia
Asli, also "genuinely made in Indonesia".