Seminar debates eroticism in Indonesian art and cultur
Seminar debates eroticism in Indonesian art and cultur
By Dini S. Djalal
Jakarta (JP): Is so-called Western civilization polluting
Indonesian society?
Only if you think Indonesian society is pristine, said
speakers at last week's seminar at Taman Ismail Marzuki entitled
The Value of Eroticism in Indonesian Art and Culture.
Both the controversial subject matter and opinionated speakers
enlivened the full-capacity audience, who also attended the
similarly-themed dance performance, Kesah, and a two-day
photography exhibition entitled Photographs of Forgotten
Humanity. Film director Slamet Rahardjo hosted the lively
discussion, which featured columnist Sujiwo Tedjo, choreographer
Yanti Aranditio, communications expert Bachtiar Aly, and musician
Jaya Suprana.
The inspiration for all these events is the phenomenal
Karmawibhangga, depicted in 160 bas-relief panels from Central
Java's Borobudur stupa. It is not merely the immense size of the
original base containing the Karmawibhangga which invites awe,
but also the content of the artwork. Unashamedly depicting
murder, robbery, rape, abortion as well as spiritual devotion,
the Karmawibhangga is a candid portrayal of humanity and the
karmic wheel of life it submits to.
Would these portrayals pass the strict censorship of modern
Indonesia? The answer is on your cinema and television screens,
where a kiss is considered obscene but a scantily-clad woman shot
in the head is acceptable. Today's transitional society is
confused about the role eroticism plays in cultural development,
and mistakes it for pornography of "Western-origin".
That the Karmawibhangga does not disqualify eroticism as
"dirty" is an indication of ancient society's greater tolerance
and courage to address the complexities of humanity.
The art of the Karmawibhangga also reveals that atrocities and
human foibles, from corruption to drug addiction to "free sex",
have been part of this society since long before
"Westernization". To accuse Western culture of poisoning local
traditions is to ultimately fear one's own weaknesses. "Do what
you think," said Slamet Rahardjo on foreign cultural influences,
"not what you see".
Unfortunately, what one is not allowed to see equally affects
societal mores. Bachtiar Aly said that censorship only
strengthens the curiosity about eroticism, a curiosity which
should be fed with intelligence rather than commercialism.
"Eroticism should not be taboo for the young," said Bachtiar,
"because it will leak out anyway, and in a negative way".
This "negative" leakage takes the form of low-budget skin-
flicks. Cunning entrepreneurs understand and feed the public's
unquenchable appetite for eroticism, without much thought of the
consequences. "The producers of those cheap films don't care
about content. What matters is the money. They don't care about
having a moral responsibility," said Aly.
The impact of these instant-gratifications is more substantial
than the films themselves. "It's like catching AIDS," said Slamet
Rahardjo. "Nikmat Sesaat, Sengsara Selamanya (A moment's pleasure
for a lifetime of suffering)," he said.
The speakers asserted that less censorship and more education
could improve the public's assessment of eroticism. "Art depends
on the intelligence of the audience," said Bachtiar Aly. "If an
uneducated person is given university literature, it may drive
him crazy," he said.
Education is also imperative to bridge the cultural divide
between East and West, especially in the era of globalization.
Accusations of Western culture polluting Indonesian traditions
persist, and did even during the discussion. A member of the
audience complained that the use of ballet for the dance
performance was inadequate. Ballet can not express the nuances of
eastern philosophy, he said, and vulgarizes the eroticism of the
Karmawibhangga.
Choreographer Yanti Aranditio argues that cultural sensitivity
rather than contamination is the issue. "Many ballet
choreographers have done Indonesian stories, even dances of Irian
Jaya origin. What's important is how the choreographers interpret
the story onstage," she said.
Cultural influences should be seen as positive rather than
negative, said Jaya Suprana. "You shouldn't say that eastern
media can't mix with the West. The Mahabharata doesn't even
originate from here but from India. Our culture has been enriched
by foreign influences."
To illustrate the potential for synergy between differing
cultures, Sujiwo Tedjo sang a Javanese lyric and Love is a many
splendored thing, both with equal passion. "There is no
difference between Javanese and Western singing. The same goes
for other art forms. It's all about feeling, and communication,"
said Sujiwo.
More important is not the acceptance of other cultural norms
but of local ones, warts and all, said the speakers. Whether this
requires acknowledgement of the eroticism within local traditions
depends on one's strength to embrace "the spirit of
Karmawibhangga". Regardless of the influence, the "sinful" acts
which elders accuse younger Indonesians of doing are part of the
development of Indonesian society. "Whatever is ours, we should
have the moral courage to love it," said Bachtiar Aly.