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.