Island of salt explored through Soemadji's works
Sri Wahyuni, The Jakarta Post, Yogyakarta
Javanese artist Soemadji brings to life his memories and appreciation of Madura, or the island of salt as it is known, in a series of paintings currently on display at the Sambung Seni art gallery here in Keloran, Tirtonirmolo, Bantul.
His emotional ties with the island stem from his experiences in Bangkalan, Madura, in the early 1960s, where he gave painting lessons to kindergarten children and high school students. Though he was born in Berbek, Nganjuk, East Java, he has lived on Madura since the '60s.
For Soemadji, the ethnic violence in Kalimantan that forced thousands of Madurese to return to their hometowns was a time of sadness for the plight of these people. He poured out his observations of life in Madura into a series of paintings.
Since 2000, he has produced dozens of paintings on Madura and its people, most of which depict daily life on the island. Most of the paintings were done when living among the refugees.
"This is my way of showing my deep love for Madura, where I live and make a living. I'm trying to picture life in Madura on canvass," said Soemadji, who turned 69 on Feb. 7.
The 60 oil paintings, mostly in bright colors, include depictions of traditional bull races, called karapan sapi, the popular street satay vendors and the beautiful scenery along the island's coast. The exhibition will conclude on Sunday
"Through the paintings I would like to introduce the beauty of the island and the culture of the Madurese, who find it very difficult to accept the cultures of others, which is why local traditions and culture are still well maintained."
In Soemadji's view, the beauty of the island's hinterland, coastal areas and the yet unexplored sea is no less attractive than similar attractions in other regions.
Madura, according to Soemadji, should not only be associated with karapan sapi or satay street vendors, because there are so many other attractions that deserve notice.
In short, he wants people to explore and appreciate Madura.
"In a kerap (Madurese term for karapan sapi), for example, it's not just the race that matters. There are a series of processions ahead of and after the kerap and all have their own meaning," he said.
It is not surprising, then, that Soemadji is exhibiting six different paintings on the karapan sapi in order to show people all of the karapan-related rituals.
The paintings are Minum Jamu (73x94 cm), Dikarantina (66x90 cm), Berangkat Kerap (77x97 cm), Siap Kerap (70x92cm), Kerap (67x97 cm) and Menang (75x92 cm).
Minum Jamu (Drinking herbal beverage) depicts the tradition of treating the participating bulls with traditional medicine made from a mixture of chicken eggs and fermented sugar palm wine (called tuak aren). A bull receives this mixture for a year before it races.
Dikarantina (Under quarantine) shows bulls being groomed for the race in a secret location in order to avoid attacks by rivals.
Berangkat Kerap (Leaving for the race) is an image of a bull leaving for the karapan, accompanied by traditional music.
Siap Kerap (Ready for the race) depicts the last minutes before the race, as the contestants wait their turn.
Kerap (The race) depicts a karapan sapi race in which three teams of bulls compete.
Menang (Champion) pictures the ceremony held to present the prize to the winners of the race.
Other paintings in the exhibit include Jual Sate I-III (Selling satay part I to III), Ambuten (the name of a beach in northern Sumenep), Cadik (a small fishing boat for one passenger), Istri-istri Nelayan (Fishermen's wives), Nongkrong (Hanging out), Petan (an activity where people, usually women, clean each other's hair) and Pasar Buah Tanah Merah (Tanah Merah fruit market).
"I want the art world to know that Madura has potential that can be explored, fathomed and actualized on canvas. I also want to wake up the Madurese to open their eyes and explore the art world of the island that has been for so long dominated by outsiders," Soemadji said.
Soemadji is a graduate of the School of Painting/Sculpture of the Indonesian Fine Arts Academy in Yogyakarta (1953) and the School of Illustration/Graphics at the same academy (1959).
He was one of the 10 young Yogyakarta-based artists who helped establish the well known art workshop Sanggar Bambu in 1954, along with artist Soenarto PR.
He has taken part in numerous joint exhibitions, while continuing in his main profession as a teacher and later a high school principal in Sumenep and Bangkalan. The exhibition at Sambung Seni is his first solo exhibition.
Soemadji believes an artist has to be able to make himself/herself a medium for inspiration.
An artist, he said, has to keep communicating through their art, which will in turn enrich and strengthen the nation's cultural life.
"With that in mind, I have always tried to manage my time to paint in my spare time as a teacher."