in artwork analyzed later in this research he is also aware and afraid of effects of his victories on lives of many in Java. Almost one third of Javanese population suffered from
impacts of fighting. It is logical that he was not recognized immediately as a national hero, and years after his struggle passed people start to realize that his act
– fight against all odds with belief in his religion and people
– is what people should do for their own nation-to-be – Indonesia. His tactics and motifs can be unclear thousands of lost, anger oЯer „throne‟ or
„road‟, his role in religion and societв in that time can be disputed subjection of JaЯa, „erasing‟ foreigners from it, but he entered historв and national mвthologв as one аho аas
brave enough to try to stop Java to fall into foreign sphere of interest in all fields – political,
economical, cultural and that is what makes him a hero.
C. Indonesian art 1990
– today: Nation in need of super Hero
1. Art and Life of Indonesia Today
If we look at the history of art in Indonesia we will always see: dynamism, reaction and contra-reaction. This is illustrated well with Pangeran Diponegoro as example in these
narratives – the Dutch established visual supremacy; they were the ones who brought
painting as we know it today to Indonesia. Soon local artists started to reply to the Dutch visual representation of Indonesia. The first one was Raden Saleh with his depiction of the
arrested Pangeran Diponegoro, later S. Sudjojonowith his writing and formulation of
Mooi Indie
– Beautiful Indies where the Dutch painters together with local ones depicted Indonesia as „tropical paradise‟ aаaв from social, political, economic problems. In the
years after gaining Independence, art entered a debate divided in two camps: those who support the universality of art, and those who pushed for alignment of art towards the
people. In that time in 1954 artist from Bandung аere labelled as „the result of education in the Western laboratorв‟ Siregar, 2013a.
In 1974 a group of rebellious young artist sent a bouquet of flowers with writing „Our condolence for the death of painting in Indonesia‟. Theв аere not pleased аith Яoting
in the Grand Exhibition of Indonesian Painting in the end of year in Jakarta. For some art critiques that was the time when Indonesian art entered the post-modern arena. Entering
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1990s in Yogyakarta four genres were really popular – realism, surrealism, abstract and
decorativism. These genres and artistic climate in Yogyakarta paved the way to new art form that is more engaging
– installation art, performance art, happening art, site-specific projects and so on. Art explorations were also done within group of artistinformal groups
Kelompok Apotik Komik
and
Kelompok Jendela
are among the most famous ones Siregar, 2013a.
The end of the 1990s marked big changes in Indonesia and region of South-East Asia. This region was hit by big financial and economic crisis, which effects were felt in
Indonesia as well. Simultaneously Indonesian people were trying to dismiss the New Order regime which had Indonesia under its control for more than 30 years. Popular protests were
also followed by unrest and violence throughout Indonesia in 19981999. In 2002 East Timor declared independence and Bali suffered terrorist attacks. In 2004 Indonesia got its
first democratically chosen president and in the same year a peace agreement was signed with pro-Independent province Aceh. Indonesia still has a lot of problems, but it enters the
second decade of the 21st century with great ambitions and potentials. Art is following this optimism. New interest in art in Reformation era emerged and
it is followed by excitement in exploring discourses that steam from post-modern thought. There is „contemporarв art feЯer‟ and it is marked bв hoа often the term аas used to
explain the most current art practice. Many young artists used art as an instrument for social change and emancipation.
It is difficult to interpret living artists, as their artwork is also living and changing and the history of art will show how influential and impressive their works were. Two
artists chosen for this research are the ones who established themselves as one of the main figures in contemporary Indonesian art scene. Also their work is courageous experiment in
involvement of art in politics and vice versa. perpustakaan.uns.ac.id
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2. Contemporary Indonesian Eyes Look Toward Pangeran Diponegoro
2.1.1. Biography of Agung Kurniawan Agung Kurniawan was born in Jember, East Java, on March 14 1968. In
Yogyakarta, he once studied archaeology at Universitas Gadjah Mada UGM, Gajah Mada University, and then went into graphic art in the Faculty of Fine Arts and Design at ISI
Yogyakarta, but he did not finish this program as well. He is owner and curator of
Kedai Kebun Forum
for contemporary art in Yogyakarta http:kedaikebun.com, where he now lives and works.
The artist is very critical about situations and conditions around him. Agung tends to criticise whatever moves him, and pays attention to events that take place. One of the
most important topics in his work is politics, and he exploits political issues in his works to make strong statements. He actively presents works of government in political and the
economic issues by denouncing their irregularities. While other artists have fully made use of such themes, many art critics consider Agung one of the foremost movers during the
1990s when Indonesian contemporary art experienced an outburst of creativity and individual criticism about politics Karnadi, 2006
Agung works with etching, woodblock printing, pencil, pastel, sculpture, installation and animation. His skills lie in the energetic use of materials and dramatic
illustrations. The lines and smudges in his works are strong and important signs. He takes interest in stories, narratives and current events by showing them in charcoal and pastel on
canvas or paper. perpustakaan.uns.ac.id
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This mix-media painting pastel, paper, conte, collage is executed in 1994. In that time Neа Order аas still main state „ruler‟, neЯertheless the changes аere happening and
artists were brave enough to show that. One of the example of this pre-Reformation strength and bravery is this artwork dimension of it are 90 x 100 cm. The author named
this painting in English – so Pangeran Diponegoro becomes Prince and the author wants to
pay homage to him. As we saw before Pangeran Diponegoro is a complex historical figure – so the main question is to which Prince Diponegoro artist is paying homage?
Index signs
The central part of this composition belongs to tagged Raden Saleh‟s „Arrest of Diponegoro‟ аhich аas interpreted before. This fragment of painting is гoomed to
Pangeran Diponegoro and his proud and angry face that he shows to his opponent General De Kock. It looks like the painting is piece of ripped canvas that floats in the air between
these futuristic visions. Gazes do not exist because figures are faceless. Nevertheless they wear similar
uniform to the Dutch militia that we saw in Raden Saleh painting. We are witnessing again a scene of someone being arrested
– military figures look like they are laughing, while there are also women like figures that look like they are grieving over destiny of our main
superhero.
Icon signs
2.1.2. Homage to Prince Diponegoro 1994 – History and Signs
Illustration 10. This artwork was accessed through IVAA slides archives perpustakaan.uns.ac.id
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We recognize three figures inside Raden Saleh painting – Pangeran Diponegoro,
General De Kock, and De Stuers. Painting itself is an icon sign; it is cropped to show exactlв the same scene that is mimed. We recogniгe that it‟s Raden Saleh depiction with
angry Diponegoro and confused de Kock, but it is same as rest of artwork done in black and white.
Symbol signs
Other figures in this artwork are sharing same position and posture like those in Raden Saleh painting. Their iconicity is questionable because they do not look like
historical characters that Raden Saleh and other artist before Agung depicted. They are icons of past
– аith their position and posture theв mimic figures from Raden Saleh‟s masterpiece, but how they look and the setting where they are depicted is different and with
that these figures carry strong symbolic messages.
10.1. Cropped detail of Pangeran Diponegoro-like figure
Source: IVAA 10.2. Kesatria Baja Hitam
Kamen Rider Black, Japanese superhero Source: the Internet
35
Main hero of artwork
–
national hero or superhero?
The
Pangeran Diponegoro
posture figure looks like Japanese TV series superhero Kamen Rider Black
Kesatria Baja Hitam
who was popular in Indonesia at the end of 1980s and beginning of 1990s. The author wants to say that heroes are dead
– now is time for superheroes. But they are also not stronger than forces of power. We are witnessing
35
Details on page 137 – Source of the illustrations
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their arrest also. Agung Kurniawan always questions the ideas about Indonesian identity. In one of his projects he investigated an idea of Indo people in Indonesian society and their
treatment by established Indonesian state. They soon become enemies of the state, but today they are dominant figures in television and film industry. A similar position is
occupied by superheroes – in a country that still produces national heroes and builds nation
they are seen as foreign influence, something that corrupts and misleads youth, nevertheless they are popular in Indonesia as they are popular in other countries.
Faceless men-like figures
wear uniforms who look like one the Dutch were wearing in time of capturing Diponegoro. These uniforms represent power and oppression. Their
faces do not haЯe eвes, but theв look like pleased and smiling faces. In Raden Saleh‟s painting the Dutch faces were full of surprise and they looked disoriented. In Kurniawan
vision power again has control and that is why faces that do not have eyes nor nose are „decorated‟ bв pleasing smile. Benedict Anderson 1999 said that it is a „dangerous and
historicallв ignorant illusion‟ of those аho in Indonesia still belieЯe that colonialism is
reserved for Western over non-Westerns. Kurniawan present colonial power as universal power, and what was once colonial violence and injustice is now or it will be violence and
injustice of others who have power.
Faceless women-like figures
wear decorative skirts, but their faces are hidden because of grieЯing. Women in Indonesia still face Яiolence, from Raden Saleh‟s Яision to
Kurniaаan‟s one, theв do not show themselves, but rather choose to be hidden by dominant
man – super hero. In Raden Saleh‟s Яision аe could almost recogniгe Pangeran
Diponegoro‟s second аife, here again аomen-like figures are anonymous. There is also a
bird-like creature
which looks like duck or penguin. Penguins and ducks are the most frequent birds used in cartoons. Donald Duck is the most famous
animated duck – unlike Mickey Mouse his fellow – Donald Duck is aggressive, angry,
stubborn, active and emotional. Also ducks are among rare beings on Earth that can fly, walk on the earth, and swim and dive into the water. Those attributes are responsible for
them being connected with the ideas of freedom and independence. The duck-like figure looks funny and like a caricature
– perhaps it is a mockery of freedom that the Indonesian people gained which was short lived and suppressed by New Order.
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Turbans and
blangkon
were replaced by strange looking hats that power structures are wearing
– they look like police hats, while figures in front who can resemble like Diponegoro‟s folloаers in imitated painting are аearing strange, acorn like hats. Turbans
were connected with Islam, while the
blangkon
is a mark of
Javanisity
, and the absence of these elements, or their distortion means absence of identity or its distortion.
Raden Saleh painting
itself is also icon sign here with strong symbolic meaning. It is brought and torn apart for us from past and now it is levitating in the middle of painting
as a reminder, warning and also homage to work of art and person whose life scene is captured there. Therefore this homage is not to Prince Diponegoro only, it is homage to
Raden Saleh and how he saw the figure of Diponegoro, as a symbol of resistance, freedom and fighting against oppression. It is an homage to Indonesia that never existed and to an
Indonesia that people never created. As a result, the whole painting is a critique of Indonesia in 1994, but it is also a call
for people to take action in their own hand and to change it. Heroes are arrested, national heroes are for history, and superheroes are also under attack. Only here, in this seemingly
hopeless situation, does one need to find out that the hero lies inside him or her. It looks simple and it is simple. This artwork was also done only with usage of two colours
– black and white. With this simplicity the artist sent a simple, yet strong message: life, politics,
economв, majoritв of things that аe trв to grasp in life can look „graв‟- between black and white. Yet, basically the contrast between good, the one who suffers from violence white
and bad, the violent one black is universal. 2.2.1.
Biography of Heri Dono Heri Dono was born in Jakarta on 12. June 1960. He studied art at Faculty of Fine
Art and Design at ISI Yogyakarta from 1980 to 1987 and became familiar with the unique wayang kulit leather puppets made by Sukasman from 1987 to 1988. He now lives and
works in Yogyakarta Karnadi, 2006. The artist has participated in Asia-Pacific Triennial Contemporary Art in 1993 and
2002. Shanghai Biennale in China in 2000, Yokohama Triennale in Japan in 2001, and Venice Biennale in Italy in 2003. Heri also held solo exhibitions at the Japan Foundation
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Forum in Tokyo in 2000 and at Galeri Nasional Indonesia in 1998. He received the Prince Klaus Award in 1998; UNESCO prize in the International Biennale in Shanghai, China, in
2000; and an award in the 2
nd
Annual Enku Grand Awards in Gifu, Japan, in 2002 Karnadi, 2006.
Heri has developed a kind of narrative by drawing upon local messages and contexts which he has experienced. He works in painting, art installation and performance
art. His visual language draws upon puppetry and cartoon figures. They show a tendency towards being decorative but take into account such ideas as stupidity, irrelevance,
prejudice, superstition and ideology. According to the artist, the lower level of society has its own narrative that is not recognised by dominant cultural mainstream. Through various
forms of humour, the lower ranks strive to survive. 2.2.2.
Salah Tangkap Pangeran Diponegoro
2007: History and Signs
Illustration 11. - Reproduction was accessed from IVAA archives
Salah Tangkap Pangeran Diponegoro
or „The Wrongful Arrest of Pangeran Diponegoro‟ аas exhibited for the first time in Yogвakarta during an exhibition “The
Bicentennial of Raden Saleh: Illusions of Nationalism”, made in Jogja Gallerв betаeen 18.
August –9. September 2007. Heri Dono made an improvement on it for exhibition in Nadi
Gallery in Jakarta in 2008. Other names for this painting 150 x 200 cm appeared – Tanah
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Harapan – Land of Hope, which has an optimistic, rather than critical message, that was
carried by with the first title. The name of exhibition is also symbolic – the first name was
„The Dвing King and I‟ but just one daв before opening of exhibition 27.1.2008. the former ruler of Neа Order passed aаaв and exhibition change its name to „The King is
Dead Long LiЯe the Puppets‟ Khoiri, I. 2007.
The composition imitates Raden Saleh‟s painting „Arrest of Diponegoro‟ from 1857. But while Agung Kurniawan with his mimicry is sending a message with call of
change and giving homage to Raden Saleh and Pangeran Diponegoro Heri Dono made strong and politically engaged satirical piece where he makes a mockery of almost
everybody, including himself. This can be easily seen when we analyze the visual semiotic signs in this work.
Index signs
Smoke
is visible from volcanic mountains. It indicates change, and danger. In the time of Raden Saleh Merapi Mountain was also quite active and he documented that in
several of his paintings. Some of these paintings also have a hidden political agenda. In Heri Dono‟s Яision Яolcanic eruption can be the eruption and expectations of people from
change. In the painting no one is shocked and worried about this index sign, so it is something that is „in the air‟, but does not affect anвone from the people in the main arena.
A
white horse
with wings turned his back toward us and looks like he is flying toward the smoky mountain. As we saw before, Diponegoro entered the folk legends with
his two horses as well. There was one black and one white that were always depicted with him in his battles. They represent dynamism, but also show uniqueness of this supreme
Javanese leader. Pangeran Diponegoro a national hero, call for change, energetic and charismatic leader was always depicted on his horse. Now, the horse is flying away. In
cartoons аhen someone dies hesheit get аings and goes to heaЯen. Diponegoro‟s horse in Dono‟s Яision got аings and it flies aаaв to an unsafe zone, the volcano. It looks like
everything is better than to witness the main scene.
Gazes
are toward scene of arresting, people react differently toward the scene of arresting. The arrested one Suharno does not look worried and he even looks like he is
smiling. Same goes to one who is arresting him. Others look slightly worried or just perpustakaan.uns.ac.id
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indifferent. Pangeran Diponegoro has his gaze directly toward us and he is laughing. He realized how this scene is comical and he wants to share that with us.
Icon signs
The painting is one big caricature where artist is presenting us numerous political figures of Indonesia. Susilo Bamabang Yudhono Indonesian president in two terms, from
2004 until 2014 is in „De Kock‟s‟ place. Pangeran Diponegoro‟s position is taken by Suharto, holding him and grieving is Bacharrudin Jusuf Habibie, who was president shortly
after Suharto resigned. There are also depictions of Amin Rais – the „father‟ of
Reformasi
, Abdurrahman Wahid
– Gus Dur, president after Habibie. The painter also put himself into this scene as contemporary to present political situation in Indonesia.Artist said -
“Siapa yang bisa tangkap Suharto saat ia masih hidup? Yang bisa menangkap ya hanya lukisan.
Jadi kapan harus membuat lukisan juga harus disesuaikan dengan idenya. Dono, 2007 Who can capture Suharto while he is still alive? The artist can make a painting, and he used
the previous painting as role model. He used ideas of capturing, ideas of villain and hero, to send his unique message. That is why he also painted himself in this scene
– he is on the balcony, a character with glasses, but he looks confused and lost.
Pangeran Diponegoro
is on the roof and he is laughing at us and at scene of wrong arrest. The only thing that we recognize from previous depictions of Diponegoro is his
turban. His face is more like a clownish one and a caricature than one that belongs to stoic hero figure. His horse is flying away toward the smoky mountains, and he is mentioned in
Index signs.
Symbol signs
In Heri Dono vision only flag that is visible is
banner of Golkar
. Golkar stands for Golongan Karya which is translated into English as Functional Groups. Party of Functional
Groups was in power in New Order regime between 1966 and 1999, shortly after that during presidency of B. J. Habibie. Later, from 2004 until now, it has been part of the
coalition around President Susilo Bambang Yudhoyono SBY. We saw the Dutch flag in Nicolas Pienemaan painting аhich аas aboЯe all figures in the painting. In S. Sudjojono‟s
painting there was an Indonesian flag – it was a mark of victory – on the battlefield that the
scene was depicting, but also to mark the victory of Indonesia after WWII. In this painting perpustakaan.uns.ac.id
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the banner is in the hand of a supporter, it does not mark any dominant power, or victory, it is just sign of political support. It is carried by one
panakawan
like figure which usually serves in wayang performance to entertain but also question the audience. The flag carried
by this figure has the same meaning; it is here to entertain and to question authorities and the loyalty of Indonesian people toward this political structure.
First aid box
and figure of first aid medical is also supported by a Semar-like figure. Semar is a supreme panakawan figure and here he supports medical stuff. The person with
the box looks like he or she is kneeling next to the central figures of Suharto and SBY. It looks afraid and confused. This „sickness of Indonesia‟ аas frequent motif in the first вear
of painting in Reformasi era. Indonesia needs to be cured, there are so manв „diseases‟ that
are constant threat to Indonesia, but it looks that no one is brave enough to do this. Semar is considered as one of the wisest characters in wayang stories, and he is supporting medical
stuff to help and to advance to main stage, but he or she is questioning its role and overall looks more like beggar and one that requests and receives help rather than one who is
giving help. Beside the medical person, as we mentioned above there is figure that looks like
Semar.
Semar is the central
panakawan
character. Sometimes he is called the „guardian spirit of island of JaЯa‟. Usuallв he is folloаed bв his three sons. In this depiction around
Semar there are also
three figures
– one which is carrying a Golkar banner that we already mentioned. One is looking as
Teletubbies
character. This controversial TV series was also broadcasted in Indonesia. Controversy relating to homosexuality was made over one
character. The show was also famous for its approach to audience to toddlers of two year old and younger. This was also cause for controversy, as many saw in
Teletubbies
a threat to future generations. Kraidy, 2005 Next to this is a strange looking character that is
carrying a bird in his arms. The
bird
and character have a long nose and beak. One of the sons of
Semar
–
Petruk
is the slimmest one and he has the longest nose. The bird is just behind Golkar banner and it can be seen as a symbol of the mythological bird Garuda which is on the coat
of arms of Indonesia. In this vision the Garuda has lost its strength and pride, but it is still lifted as sign of protest and warning for newand old government.
Panakawan
characters perpustakaan.uns.ac.id
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are there to entertain
wayang kulit
audience, but also to give artistic freedom to
dalang
, because in this part he can express his criticism. Heri Dono was
dalang
in this performance and his critic is really strong.
Heri Dono is Javanese and he was educated by famous
dalang
about wayang stories, therefore he implemented this experience in his painting. Yet, he is strongly
opposed to
Javanisation
as unofficial policy of Indonesia. We can see that in the way he dressed his figures. One man next to grieving figure is in
Javanese lurik shirt
. Suharto was key leader of
Javanisation
policy. The Javanese figure does not look sad, his posture is up toward the scene and he is holding a cigarette in his hand. He looks worried or indifferent.
Other ethnographic details include traditional batak hat and sarung in what looks like Amien Rais. This is also one of the jokes of Heri Dono, because Amien Rais is
JaЯanese. Diponegoro is in his „iconic‟ robe and turban but theв do not look like robes of nobility, nor look different that robes that
panakawan
figures or other common people wear in this painting. Uniforms of the central figures look more official and they have marks on
them – medals, badges, and other titular marks. The majority of figures wear brownish like
clothes, but there are some figures that look from shadow that wear green, blue, black, one of these figures looks like a monkey, one as a Catholic bishop, one as a white person, they
can symbolize variety in Indonesian society and those one interested in it. One of the interesting figures in this painting also is
carriage driver
who has slightly different attires. He is also in brown suit, but his strange looking hat is red cylinder
top hat. This hat is usually connected with industrials and bankers of the 19th and the 20th century. It is black and elegant. Here it is bloody red. Drivers carries with him jar full of
gold in back seat. His horse is also more like a wolf head creature than horse. His hooves are also blood red which is unusual. This figure symbolizes a lot of elements of New Order
regime – ruthless development, corruption and abusing of human rights which also
including killing people from Aceh to Papua, via a bloody mark left on today independent East Timor.
The scene took place in dark, sky is black and ground is brownish, but figures are bright and easily recognized, which creates an atmosphere of theatre of the absurd or
reverse
wayang kulit.
Political situation in Indonesia is equal to theatre of the absurd, perpustakaan.uns.ac.id
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everything looks transparent and clear, but actually everything is distorted and confusing, that even national heroes are laughing and are ready to leave this scene.
12. Heri Dono. 2002.
Raden Saleh Jadi Londo
from Kraus, 2005 13. Heri Dono. 2009.
The Error of Pienemaan‟s Perspective Source: the Internet
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In 2002 Heri Dono painted Raden Saleh as
londo
Javanese term for the Dutchman and all foreigners, in this artwork he acknowledged and made a joke of his hybridity. It is
also a statement about the hybridity of Indonesian painting as Raden Saleh is considered the „father‟ of Indonesian painting. Kraus, 2005 In 2007 he giЯes a caricature of the wrongful
arrest of Pangeran Diponegoro and in 2009 he painted the same painting in a realistic manner. This was the first painting that he did in this way, and by showing clearly
Indonesian politics he avoids accusations that his work is just simple caricature and not strong to conЯeв message in more direct аaв. He gaЯe Яisual explanation of „аho is аho‟
on his painting, and now he put himself in the first line, giving with that move more responsibility to himself as citizen of Indonesia and as artist in this country.
The Error of Pieneman‟s Perspective is the name of this artwork and with it there is a closing circle for this research as аell, аhich starts bв analвsing Nicolaas Pieneman‟s
painting from 1830-1835 and ending almost two hundred years later with a painting by one contemporarв Indonesian artist аho is questioning Pieneman‟s perspectiЯe.
Pada Salah
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Source of Illustrations – page 137
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Tangkap Diponegoro, Heri Dono menyaksikan penangkapan Diponegoro itu dari jauh. Adapun pada The Error of Pienemans Perspective, Heri Dono hadir di lokasi
penangkapan
- this is the main difference between artwork Heri Dono in the first raw, while in 2007 he was far away that was examined previously and this one, by the
explanation of curator of this exhibition. Mikke Susanto was the curator of an exhibition called
Heri Donology
presented in Jogjakarta in July 2009
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. In the same exhibition he again makes a mockery of Raden Saleh with his sculpture,
together with Anwar famous Indonesian poet and Affandi probably the most well-known Indonesian artist outside Indonesia and 17 others figures that he called
Agents of Change II.
By using fibreglass he made this sculpture around 30 cm high and placed them in squatting position and they look like they are defecating, complete with a piece of faeces
underneath them. This is the critique of demand for artist to create their artworks and to change the world.
Sedangkan posisi jongkok pada Agent of Change II, menurut Heri Dono, sebagai gerak simbolik saat para seniman sedang merenung untuk menghasilkan karya
untuk mengubah dunia, meski yang tampak adalah luncuran tinja
Dono, 2007.
3. Who Are the Heroes Now and Do We Need Them?
~ I think a hero is any person really intent on making this a better place for
allpeople
Maya Angelou 1928-2014, American poet Contemporary art scene in Indonesia contributes to discussion about national
heroism as we show above. Agung Kurniawan together with Agus Suwage, Maryanto and Lian Sahar made an exhibition and project
Sukro Dimejo: Pahlwan atau Jahanam?
Sukrodimejo was a historical figure from 19th century Banten and he fought against the Dutch, nevertheless he is not recognized as a national hero. In this artproject artists were
exploring what is that that makes one a national hero while another still stays in a sphere of oral mвthologв and heroism in people‟s stories.
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Agung Kurniawan is always posing these
37
Tempo online edition - http:www.tempo.coreadnews20090722114188358Respons-Terhadap-
Kengawuran - 10.04.2014.
38
Cemeti Art-house
archive http:archive.cemetiarthouse.comidexhibition2006museum-sukrodimejo
10.03.2014.
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provocative questions in his work – questions about national identity, unity, mythology
and others. As аe also saа in Heri Dono‟s art opus, he also questioned eЯery authority. These artists are artists of era called Reformation and they want to give their contribution in
reforming Indonesian identity by questioning it and challenging their audience to think about numerous questions.
While living its reformationreformulation era Indonesia is also widely open to world, its rules of markets and economies, but also it receives influences from different
cultures. Indonesia is one of the rare countries in the world that one can read this news: Swedish-Lebanese pro-Islamic singer Maher Zain will give his signatures to his fans in
super-fancy Kuningan City mall in Jakarta.
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The next day he will perform in a free concert organized by one presidential candidate as one of the strategy for winning battle in
upcoming president elections. Pop culture, Islam, Orientalization vs Occidentalisation, Consumerism culture, Politics, Power
– those are all terms one can read from this news. New views of Pangeran Diponegoro are illustrated in pictures below.
14. 1. Diponegoro meets General De Kock – from Opera Diponegoro
the Internet Source
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14. 2. Landung Simatupang - Dramatic reading about Diponegoro
the Internet Source
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http:www.republika.co.idberitapemilumenuju-ri-1140630n7zozr-prabowohatta-undang-masyarakat- hadiri-konser-maher-zain-gratis 01.07.2014.
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For details – Source of illustrations – page 137
41
Ibid.
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14.3. Indiegerillas 2012 This Hegemony Life
– Tin Tin like Diponegoro the Internet Source
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14.4. Manga Diponegoro the Internet SourceAuthor‟s photo
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14. Contemporary Look at Pangeran Diponegoro
Pangeran Diponegoro as motif moved from traditional performing arts of Java and Indonesia such as wayang and entered contemporary traditional art forms. In November
2011 choreographer Sardono W. Kusumo together with musician Iwan Fals presented
Java War Opera Diponegoro 1825-0000
in
Taman Ismail Marzuki
in Jakarta. Landung Simatupang is a famous Indonesian actor who directed a stage reading about Diponegro in
Yogyakarta, Malang, Jakarta and Makassar in 20132014. There were plans to make the first Indonesian 3D animation depicting fight of Diponegoro. Yet, he entered
manga
like comics, video games; his face or his figure riding horse is motif in t-shirts.
Diponegoro takes on a new significance in the twenty-first century. His ideology is a clear indication of the deep roots of those Islamic organizations in Indonesia today
that reject pluralism and campaign in word and suicide-killings for the removal of non-Muslim foreigners from the country. Taylor, 2013
Diponegoro indeed takes on a new significance in the twenty-first century, but it is
hard to believe that this significance is only connected with radical Islamic groups. This writing can also be looked at in a Postcolonial manner, where the West is still producing
the East, and now the East is almost entirely identified with the Islamic world, which is again identified with terrorism and fundamentalism. Indonesia, as the country with the
biggest Muslim population shows different. Indonesians, with their creativity can create
42
For details about source of illustration – look page 137.
43
Ibid.
commit to user
operas, theatre plays, comic books, animations with the same skills like everywhere else in the world. Art and artist of Indonesia embrace this global hybridity and with bravery
challenge and change society. Diponegoro is, and it аill alаaвs be „the light of countrв‟, because that light is
casting the ideas of freedom, independence, creativity, discussion, growth, and not the ideas of xenophobia and exclusion. That is why he is a national hero. That is why the nation
needs to realize that by sharing and accepting values of knowledge and ideals of freedom, a nation soon will not need national heroes any more - it will be a nation of heroes, where
heroes are like the one mentioned in motto for this subchapter – one who tries their best to
make this place kampung, city, province, country, world a better place for all people.
D. Depicting Pangeran Diponegoro from 19th until today
