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".