F. Widayanto tracks down the enigmatic 'ukelan'

By Hartoyo Pratiknyo

JAKARTA (JP): Ukelan: A hair bun? A chignon? In the purely descriptive sense of the word, perhaps both "hair bun" and "chignon" do correctly denote the object: head hair, done more or less in the shape of a bun and normally worn at the back or near top of the head. The precise translation of the Javanese word ukelan, is difficulty because the Javanese word contains a certain measure of deference which is missing in the English equivalents.

Like the head on which it grows, a person's hair to Indonesians must be treated with respect. In Indonesian culture, an ukelan is something more than just a hair bun shaped and embellished with touches of great artistry.

Formerly, the ukelan often carried a ceremonial significance. Certain buns were required for specific occasions.

Denial

For example, women were denied entry into in the royal palaces of Surakarta and Yogyakarta unless they were wore the ukel tekuk -- a simple chignon of two loops of carefully oiled hair often graced with fine strips of fragrant pandanus leaves, jasmine flowers and rose petals. Brides wore a similar ukel tekuk, but contained in a netting of strung jasmine flowers and topped with an ornamental comb.

Considering the special significance which the hair bun has in Indonesian society, it is surprising that practically no literature exists on the subject. This lack of documentation was an initial constraining factor which F. Widayanto, one of Indonesia's foremost young ceramists (he objects to the label "artist"), encountered when attempting to research the subject to prepare his solo exhibition Ukelan. The outcome can be viewed at The Regent hotel on Jl. Rasuna Said in Jakarta until Sept. 10

While still working on his Ganesha-Ganeshi statues four years ago, the young ceramist started pondering what he might do next. Nandi, Semar and Kuwera, the god of prosperity, came to mind, but when the Hindu philosophy-saturated Ganesha-Ganeshi figures neared completion, he thought it would be too exacting to attempt another heavy theme. The three characters are steeped in philosophy, particular Semar, who is still considered a role model by the Javanese. Yanto therefore decided on something less formidable but still historical.

"An old terra-cotta statue from the Majapahit era which I had seen long ago attracted my fancy. The few details that I was able to collect on the subject conveyed no deep philosophical concepts as did Nandi, Kuwera or Semar. But it was interesting because the freedom that people had in doing their hair impressed me, and it was quite different from what we know now," the young ceramist explained.

"There is no deep philosophical concept underlying these works. I simply used my fancy, fitting the hairdo to the mood and character of each figure. Many of the hairstyles do not actually exist, but they could be done," he said.

Merit

The "lack of philosophy" could have lessened the artistic merit of Yanto's ukelan when compared to his earlier Ganesha- Ganeshi. But, philosophical or not, great emotional depth clearly shines from Yanto's ceramic figures. The depth admirably captured in the excellent photographs that grace 23 of the 81-page Ukelan exhibition catalog. Unfortunately, the photographer is not listed in the credits.

No less valuable are the catalog's essays -- written in both Indonesian and English. The text, interspersed with Yanto's working sketches, presents valuable background information on the ukelan tradition and the present state of ceramics in Indonesia. The exhibition catalog is probably the first text to deal with the chignon in the Indonesian cultural context and is surely a work worth collecting in its own right.