Articles - Inside Indonesia: The peoples and cultures of Indonesia

Skin signatures

Once feared as the mark of a criminal, tattoos are today almost a teenage fad   Megan Baker Athonk knows his art form like the back of his tattooed hands. The owner of Pure Black Tattoo Studio in Yogyakarta can tell you that Australians in Melbourne have the most desirable tattooing skin because the needle easily penetrates their fine, cold hide. Indonesians have the least suited skin. A red heart tattoo on his throat beats as he swallows. His passion for tattooing grew out of drawing comics. Athonk studied at the Indonesian Institute of Art (ISI) in Yogyakarta until lack of funds put an end to formal education. He then learnt to apply his artistic skills to skin through friends, magazines, and a trip to study the art form in Australia. A vast collection of photographs proves his technical competence. Designs range from small simple turtle motifs to large detailed tribal patterns applied to limbs and backs. New Order tattoo artists used to work underground. In the early 1980s Yogyakarta was the least safe place for tattooed Indonesians. Tattoos were a sign of a previous prison sentence. The government embarked on an operation to 'clean' the city of troublesome citizens. 'Mysterious gunmen' (petrus - penembak misterius) shot down tattooed street thugs known as gali (gabungan anak liar). Men with tattoos were told to report to the police. Their tattoos were noted, and in some cases forcibly removed with a hot iron. The stigma forced artists underground, where drugs or alcohol became payment for artwork and hence part of tattoo culture. Athonk once received a chicken from a poor client. The tattoo artist creates a lifetime mark. The relationship between designer and client at times resembles that of psychologist and patient. In a state of pain, Athonk says, clients easily 'confess all'. One got a tattoo because he was ordered to marry someone he did not love. Rebellion continues to be a prime inspiration, like the anti-military 'peace punk' tattoos in the US in the 1970s. Many clients make a ceremony of the process, inviting friends, preparing party food for the minute of completion. Hygiene is a big concern. In the 1930s tattoo studios in New England were blamed for the spread of syphilis. Athonk worries about street tattooists who use dirty tools. Few studios use gloves as they are expensive and artists do not know where to purchase them. Athonk tries to educate other artists by organising Tattoo fashion parades and establishing the Java Tattoo Club. Artists need to learn the technicalities of tattooing machines and the latest ink types, as well as how to apply designs to skin. There are too few skilled tattoo artists to meet increasing demand. Studios not ready to 'go public' continue to operate from small outlets in heavily touristed areas of Yogyakarta like Sosrowijayan. The tattooed community considers non-tattooed people 'stark naked' (telanjang bulat), a term Athonk claims originates with tattoo. In the early 1990s the music of Red Hot Chili Peppers and Guns 'n' Roses had a 'phenomenal' influence on Indonesian youth. They wanted tattoos of the cover image on the first Red Hot Chili Peppers album. Now Indonesian youth, aware of a new 'individuality' which comes packaged in consumerism, are requesting more self-devised designs as well as common popular hearts and roses. Their choice of designs provides a visual reading of attitudes in a transforming society. Athonk also owns the only professional studio in Jakarta. Many clients come from wealthy families. In fact most are teenage girls who come to the studio with their parents. Tattooists are increasingly seen as 'fine artists'. But 'sensationalism' remains part of modern tattooing culture. Foreign tourists come to Indonesia in search of the more raw tradition lacking in the West. They ask for exotic tribal designs, symbols of eternity and spirituality, or pictures of Javanese wayang puppets. Javanese do not have a strong tattooing tradition. But tattooing is an integral part of the more tribal Dayak and Mentawaian cultures. Bunga Terong, the top part of an eggplant, originated in Borneo and is now an internationally recognised tattoo. In Kalimantan (Indonesian Borneo) women tattoo symbols on their foreheads to indicate skills such as weaving which increase their worth in the eyes of potential husbands. Men were expected to earn their tattoos by taking heads. Megan Baker (megabak@hotmail.com) studies at the University of Technology Sydney, Australia. Find Athonk near Supermans in Sosrowijayan, Yogyakarta Inside Indonesia 64: Oct - Dec 2000

Of pigs, puppets and protest

  Radical Yogyakarta artists get among the people Heidi Arbuckle It is World Food Day, Yogyakarta 1999. Dr Syarifuddin Karamoy, secretary general of the Department of Agriculture, is due to open an Agricultural Expo. But his address has been delayed. Outside, a chorus of voices. Farmers, students and activists are chanting 'anti-revolusi hijau' (anti-green revolution), 'tolak bahan pestisida' (refuse pesticides), 'cabut SK 527'(withdraw the proposed bill). Most vocal of all is 67 year-old Magelang farmer Mbah Seko. He holds up a petition signed by 260 fellow farmers from the vicinity of Yogyakarta - Klaten, Pacitan, Bantul and Kulonprogo. The petition is clear - withdraw the bill that proposes to re-introduce several harmful pesticides. Most striking about this demonstration is the diverse array of supporters the anti-pesticide cause attracts. The people (rakyat) are young and old, rural and urban. Among them is an unusual group of rakyat who have been particularly active at protests the last few years. They are not your ordinary animate Indonesians, but shadow puppet (wayang)adaptations of real people. Made from simple materials like cardboard, bamboo stakes, and paint, these life-size wayang characters represent members of a newly democratising Indonesian society. The puppet-masters (dalang) of the protest wayangis a group of radical artists, members of a progressive arts network called Taring Padi. Taring Padi refers to the sharp tip of the rice plant, and is a metaphor for people's power. The group emerged in 1998 following the popular movement that brought down President Suharto. Many of those involved in Taring Padi were active in student politics throughout the 1990s. They were among the architects of the radical art actions that highlighted the Yogyakarta protest movement in 1998. Yogyakarta is renowned historically as a centre for radical cultural protest, particularly in the visual arts. Radical Yogya artists have embraced anti-colonial and revolutionary causes since early in the twentieth century. Like their predecessors, Taring Padi artists promote the concept of people's art - seni kerakyatan-a loose term that defines the artist's social commitment and popular orientation. Taring Padi attempt to put this credo into practise through concrete action, rather than just aesthetic empathy for the plight of the 'oppressed masses'. Mainstream art, the conventional system of curators, galleries and art collectors, is something Taring Padi avoid. Rather, they cultivate relations with other progressive organisations including students, farmers, and the urban poor. Such was the case for the World Food Day action, when Taring Padi collaborated with Mbah Seko and his group of organic farmers called Petani Lestari (Conservation Farmers), as well as with activists from the environmental non-government organisation Keliling. At the demonstration, activists shared out the protest wayangamong themselves. The cast of wayang figures symbolised the various 'actors' involved in the pesticide 'drama'. Taring Padi dalangs do not narrate their wayang performances. Rather, the characters themselves tell the story. The pesticide drama involved the general public. Mothers holding babies, school children, workers, and religious figures were all depicted as the potential 'victims' of polluted food. The protagonists were the 'enlightened' farmers, who knew the effects of poisonous farming inputs and were willing to boycott them. The antagonists included the 'capitalists' and corrupt bureaucrats who were intent on re-introducing dangerous pesticides for their own financial gain, impervious to the public interest. This adaptation of the popularwayang tradition subverts standard wayangconventions whereby the people (rakyat)are portrayed as bungling clowns (punakawan), 'unrefined' and characterised by crude features. In contrast, protest wayangportray positive, realist images of the rakyat, who are wise to the deceptions of their conventionally 'benevolent' rulers. Power-holders, who are normally characterised by their 'refined' features, are here depicted as beast-like creatures often resembling pigs, wolves, rats or grotesque monsters. These characters don modern day attire such as business suits and military greens, often juxtaposed with symbols of the traditional elite, or the 'national' Indonesian icon, the kopiah or male Islamic headdress. Taring Padi and their theatre of protest wayang have 'performed' at a number of events throughout Central Java and in Jakarta. Their dramas take on issues like the role of the military, the 'conviction' of New Order 'criminals', electricity and fuel price hikes, and the debt trap. In February 2000 they created about twenty wayang characters for a mass action in Jakarta to oppose renewed loans and austerity measures imposed by the International Monetary Fund. The anti-debt coalition KAU that organised the action timed it to coincide with a meeting of the international Consultative Group on Indonesia to discuss debt rescheduling. Pacifist Taring Padi often uses wayang for 'agitation' purposes and to depict conflicting class relations. But Taring Padi's artwork also promotes pacifist causes. In the period before the June 1999 elections, a number of Indonesian cities experienced heightened unrest. Political commentators predicted 'civil war', and the media fuelled the volatile pre-election atmosphere by nurturing perceived religious, ethnic and racial tensions. As a response, Taring Padi began to produce a series of woodcut posters which carried messages promoting solidarity and peaceful social interrelations.Between March and June 1999, they distributed approximately 10,000 woodcut posters throughout major cities in Java, Sumatra and South Sulawesi. The woodcuts, hand-printed on draft paper, were pasted on city streets, on churches and mosques, on village notice boards, in food stalls, in market places. Among their other artwork, Taring Padi issue a popular pamphlet called the People's trumpet. A series of banners and murals resemble the work of Mexican muralist Diego Riviera. Taring Padi banners are often commissioned by other organisations. The women's division of the National Human Rights Commission ordered a series of them. Titled The evacuation, the banners depict the harsh realities of the refugee crisis in Aceh by focusing on women's daily struggles. But Taring Padi also use banners and murals for community purposes, and invite local people to be part of the painting process. Taring Padi's creative ethos involves a collective, process-oriented production of artwork. They want to eliminate illusive notions of the artist as 'genius' or 'eccentric' individual, and of the artwork as somehow 'sacred'. Taring Padi artwork does not carry recognition of the 'individual' artistic creator. It is stamped instead with the Taring Padi 'kerakyatan' insignia - a sprig of rice, red star and cogwheel. Most Taring Padi activities are self-funded. Many Taring Padi artists are hostile toward the art market. The group ekes out a living from informally selling posters, postcards and books. They are lucky to have an advantageous living arrangement - the group squats in the former visual arts campus of the Indonesian Institute of Art (ISI) in Yogyakarta. The abandoned arts campus is now a melting pot for young Yogya radicals to meet, camp, and plan their 'revolutionary' activities. The buildings have not escaped their rhetoric. Graffiti, painting, and poetry cover its inner walls, quoting Ho Chi Minh, Lenin and the Indonesian poet Agam Wispi. But they are by no means an in-group. They also engage in more community-oriented events such as creative activities with village children, theatre performances, workshops, and even wedding receptions. Under the New Order regime, artists of social conscience struggled to maintain a community-oriented approach to their artistic activities. Persistently plagued by bureaucratic red tape and harassed by the military, artists and the community became forcibly detached. Now, amid the wave of recent reform in Indonesia, new possibilities for a lively community arts network are opening up. Heidi Arbuckle (a.heidi@mailcity.com) recently completed her honours thesis on Taring Padi at Curtin University in Perth, Australia. She lives in Yogyakarta and studies at the Indonesian Institute of Art. Contact Taring Padi at taring99@hotmail.com. Inside Indonesia 64: Oct - Dec 2000

Punks for peace

Underground music gives young people back their voice Jo Pickles Halfway down the road to Parangtritis, in the isolated Gabusan Art Building, wedged between sugar cane and rice paddies, a crowd of Yogyakarta youths endure the intense mid-day sun to watch an underground music concert. Outside, near the parked motorbikes, the atmosphere is vibrant. Small groups cluster in narrow strips of shade to dodge the harsh noon glare. Some chat and joke as they wait for their favoured bands to come on. Others rest in silence, conserving energy before they perform, or recovering from a stint of brutal pogo dancing inside the airless hall. Not all the spectators are from Yogya. Many travelled from neighbouring cities in Central Java or from further afield in Bali or West Java to see the poster-billed bands and check out new local talent. Vibrations from the hall hum through the air. Each time watchful police open the venue's doors to let sweaty bodies slip through, broken lyrics and fast drum phrases spill out into daylight. Like most underground concerts these days, this event showcases several music genres: the loud angry disorder of Punk, the low growls and grunts of Grindcore, the melancholic and nihilistic screeching of Doom Metal, not to mention Black Metal, Brutal Death and Skacore. Distinctive musical styles are coupled with dramatic fashion. Metal fans decked out in monochrome black contrast with the vivid ripped punk style, as do the checked shirts, braces and black boots of the skinheads. This is an 'anything goes' space, both stimulating and disseminating self-expression. Underground concerts are not unique to Yogyakarta. The scene has flourished throughout Indonesia since the early nineties. Similar events are mirrored in Bandung, Malang, Denpasar, Blora and numerous other cities. United by the desire to reclaim artistic creativity, the underground movement offers musicians an escape from the clutches of commercial culture. Hollers, screams and growls are let loose. Unlike the mainstream music world which is engineered by profit-oriented major label corporations, expression is not restricted. 'When I'm fed up, this music lets me get out my emotions and become positive' says Dempak, vocalist for the Bandung hardcore punk band Jeruji. For many of the kids at this concert, music is more than just a hobby. Close-knit communities of young people sharing an interest in underground music have emerged throughout Indonesia. Underground youth cultures provide a network of like-minded people to experiment, hang out and jam with. A place of refuge from families who don't understand the aspirations of their youth, and from a society preoccupied with other issues. These groups provide a sense of belonging and family-like support for members who choose nomadic life on the streets in preference to living at home. Distinct from other more segregated social structures, the underground scene is open for all to join and participate in. Money and education are not barriers. History With its roots in the underground movement, punk is the most theatrical youth culture in Indonesia. Intentionally in your face and necessarily cheap, punk dress code, music and lifestyle have been adopted by young people from a cross section of classes, religions and ethnic backgrounds. Uni students, street kids, salespeople and the unemployed unite in a show of studded jackets, gravity-defying hairstyles and pants patched with angry slogans. They have redefined these symbols of a western tradition in a new setting. The seventies British punk scene grew out of a climate of high youth unemployment, poverty and illiteracy. Found objects were given new 'absurd' contexts: over-sized safety pins pushed through earlobes and spiked dog collars buckled around human necks. These visual statements set out to ridicule the conventions of respectable social life. The tough non-conformist attitudes of punkers were a reaction to a conservative government which offered limited prospects to its youth. Indonesian punk has a similar history. According to those who have been involved in the scene for almost a decade, some of Indonesia's youth began parading punk fashion as a rebellious visual stab at unappetising social 'norms'. At that stage, fear of repercussions ensured that they rarely voiced discontent with the establishment openly. Ironically, the increased freedoms after the fall of the New Order produced an intellectual rift that divided the punk scene. One section chooses to remain uninterested and disenchanted by politics. Others look to punk activism in other parts of the world as a blueprint for how to voice concerns. 'It's time for us, the next generation, to open our thoughts, hearts and ears to fight for what we are sure of and what is right' cries a cut-and-paste photocopied leaflet, handed out during a concert in East Java. The Do-It-Yourself ethic long associated with this branch of the underground music movement encourages young people to be active in a sub-culture they can call their own. The realisation that anyone can record their own music or publish a homemade fanzine is self-empowering. Alternative distribution systems replace dependence on the unattainable and limiting commercial media. The movement values independent thinking and self-education. Most opinion pieces in underground newsletters cockily invite critical feedback. Samples from political speeches are mixed into three-chord thrash and then coated in layers of rebellion and dissatisfaction. Weapons of consumer culture such as packaging are appropriated and disarmed. Album covers, for example, are used as a space for critical commentary. Stamped with images selected to stimulate a reaction, this medium opens another doorway for bands to communicate directly with their audience. The compilation Punx 'n Skins: Street Sounds of Revolution is wrapped in the printed aspirations of the thirty bands involved in making the album. A short text inside the simple cover dedicates the album to the ideals of freedom, togetherness and the environment. It states its opposition to injustice and oppression. The words 'ELIMINATE THEM!' ('Basmi mereka!') in bold capitals are aimed at the corruptors who have eaten through Indonesia's bureaucracy. Music is not their only medium of criticism. Concern for the future of Indonesia often leads these youths to the forefront of heated demonstrations. They assert their personal beliefs and try to raise awareness in others through street posters, stickers, badges, fanzines and handouts. Prejudice But sharp spikes, superfluous zippers, and tattoos still twig a sensitive nerve in today's Indonesia. In the rare event the media looks at this group of young people it usually paints an ugly ('jelek') portrait. When last November the weekly tabloid Adil published a feature article on 'Bandung's sea of gangs', it described the punk community as 'disturbing' and placed it on a par with the thugs who rule Bandung's underworld. Music mag Mumu in its April edition said punk members were paid to take part in demonstrations. ('They are happy to do it as they are getting paid' - 'Mereka sih senang-senang aja disuruh seperti itu karena diberi uang'). Prejudice stemming from conservative values also comes in more sinister forms. Random beatings, threats and tales of harassment are not uncommon. Punk and other underground music may have originated in the west. But Indonesia's youth have indigenised these cultures and given them new meanings. Amidst Indonesia's current upheaval, they offer young people an identity to participate in, and a support base. Even more important, the underground has broken down barriers to expression and given youths back their voice after a long period of silence. Jo Pickles (joanna_pickles@hotmail.com) is a student at the Australian National University, Canberra. She was in Yogyakarta with Acicis (the Australian Consortium for In-Country Indonesian Studies). Inside Indonesia 64: Oct - Dec 2000

Confused?

Some directions in post-New Order theatre Lauren Bain Many within the arts community in Indonesia experienced a sense of euphoria after the fall of Suharto. Two years on, is theatre really 'floundering and directionless' as a recent article in The Jakarta Post suggested (6 August 2000)? Under the New Order the performing arts were subject to tight state controls. Yet theatre groups were to varying degrees able to resist and to make critical comment on many aspects of New Order society. The late New Order saw increasing numbers of theatre companies producing non-linear, non-text based works using physical performance forms. This form of theatre invited multiple, pluralistic responses from audiences, and in a western theoretical framework could be described as 'postmodern'. Much of this work was also highly critical of the New Order state, but perhaps because of its non-text based format was largely able to avoid censorship. By saying the 'unsayable' without using words it perhaps positioned itself outside the parameters of perceived threats to New Order hegemony and thereby subverted it. Teater SAE, Teater Kubur, Payung Hitam, Bali Exsperimental Teater and Teater Re-Publik are all groups which produced work along these lines, each in its own unique way. Most are producing it still. Numerous other groups including Teater Api (Surabaya) and Teater Ruang (Solo) continued to use text in their work but also developed a highly physical performance style. But how has reformasi impacted on this type of theatre production? Is this style of work, this idiom, still an appropriate strategy for subverting the status quo? In fact if there is no clear 'status quo' is it possible to be radical? Many theatre groups and artists are grappling with these questions. Some maintain that the impacts of the New Order are still so widely felt that there is no need to adapt styles of performance which were successful at that time. The most recent production of Payung Hitam, under director Rachman Sabur, is DOM: Dan orang mati, performed in June 2000. It created a sometimes terrifying spectacle of chaos, violence and confused national identity - a chaos in which the audience itself was also clearly implicated, as massive military search lights passed overhead. Huge floor-ceiling banners, bearing the outlines of the heads of Suharto, Habibie and Wiranto moved back and forth across the stage. Both thematically and stylistically DOM is very similar to the work Payung Hitam have been producing over the last five years. The work is still powerful, and the performance well crafted and disciplined, but for how long will this approach be valid? Other theatre groups are challenging the paradigm within which for example Payung Hitam work. For Yogya-based Teater Garasi, subverting what they call 'dominant theatre culture' is an important agenda. Yudi Ahmad Tajudin, the group's artistic director, argues that in order to 'subvert' the dominant theatre culture of the late 1990s, it was necessary to return to what he refers to as 'simple' themes - such as relationships between men and women. In addition, Teater Garasi chose to deal with these themes through performing realist text based theatre. Yudi Tajudin also argues that the kind of abstract, physical theatre which dominated the scene in the late New Order was 'killing acting', a trend which Teater Garasi's style of work attempts to reverse. Whilst Teater Garasi deliberately defines its work as 'subversive', their method of subverting the dominant theatre culture could be seen as a return to a more conservative style. It is also perhaps ironic that a company which draws heavily on postmodern/ cultural studies theory should be so concerned with saving 'acting' - or perhaps the notion of 'the actor' - from the 'threats' posed by physical and overtly political theatre. Perhaps Teater Garasi's approach exemplifies a more general shift away from a deliberately political theatre culture. 'Theatre (in Indonesia) has become the media of agitators' lamented one artist-academic in Kompas recently (22 June 2000). Nano Riantiarno, director of Jakarta's Teater Koma, who experienced consistent problems with censorship under the New Order, says that he is deliberately taking a more 'mainstream' approach to his work since the fall of Suharto. Whilst there is a need to question whether the styles of work used under the New Order are still valid, the idea that theatre which does not deal directly with political themes is 'apolitical' is surely a naive misconception. Although Teater Garasi argue that they are 'relaxed about ideology' their work still has ideological implications. It should not be surprising if there is a sense of a loss of direction within Indonesia's theatre community. Many other types of groups in Indonesia are also re-evaluating their position in relation to structures of power. Theatre artists are developing new modes of critique, and in some cases are re-evaluating strategies which may have been successful under the New Order. If theatre is to continue to be radical in the post New Order era, it is critical that both the continuing use of 'New Order' idioms and the strategies used to 'subvert' this 'political' style of work are themselves opened to question. Lauren Bain (lhbain@hotmail.com) is a PhD candidate at The University of Tasmania. She is researching contemporary theatre of the reformasi era from her base in Solo. Inside Indonesia 64: Oct - Dec 2000

Letter from Makassar

Artists rebuild community identity in new, democratic ways Halim HD Centralism violates everything that is good about society and the arts. It is the cause of the disintegration now threatening this nation of thousands of islands once held together by some common memory and some common hope. When we decided that 'decentralisation' would be the theme of an arts festival in Makassar, South Sulawesi, some of my artist friends enjoying the good life in Jakarta wrote to tell me they thought it was a poor idea. But those who came, not just from around Makassar but from all over Indonesia, thought it was fantastic. We started talking about the concept of a Makassar Arts Forum in a coffee shop in front of Fort Rotterdam in July 1998, just two months after Suharto resigned. It was going to be something entirely democratic and separate from the official arts establishment. That coffee shop became our secretariat, where anyone could drop by and discuss ideas. Asmin Amin was there, a well-known activist in a non-government organisation (NGO) combating HIV/Aids in South Sulawesi. Another activist there was Shalahuddin, better known for his interest in maritime ecology and organic farming. These people had worked with theatre groups such as Teater Pilar and Teater Petta Puang, and with the music and dance troupe Batara Gowa, to spread their message all over Sulawesi since the mid 1990s. I was in Makassar for another festival, but these people asked me and some other arts activists from Java to stay and help them organise the arts forum. It soon became clear that the official arts bodies were rather afraid of these influential NGO 'outsiders'. Word was that people in the Makassar Arts Council, the South Sulawesi Arts Council, the Indonesian National Arts Coordinating Body, and South Sulawesi Taman Budaya thought they would politicise the arts. The arts councils were set up in many regions under the New Order in the 1970s. In fact these institutionalised artists had themselves long politicised the arts. They had lots of money, were close to officialdom, but had only weak roots in the community. The success of the much more open Makassar Arts Forum was soon to make the arts council model look outdated. Andi Ilhamsyah Mattalata, a local businessman and retired sportsman, said he was prepared to help out financially. He lent us some space and a telephone. We scrounged around for a computer and paper, and for more volunteers. By this time it was nearly a year since Suharto's resignation kicked off reformasi. Friends wanted somehow to commemorate the date. We used donated old newspapers to wrap the 5-6 metre high walls of the historic Fort Rotterdam in newsprint. The idea was to celebrate the new press freedoms, and to remember that we are surrounded by news all the time. The participants also wrapped themselves in newsprint and paraded around town - buskers, dancers, theatre players, street kids, painters and even some sidewalk sellers, about 150 of them! All the kids joined in, as did lots of motorbikes, bicycles and cars. It was like a spontaneous carnival. For three nights from 19 May '99 there was music in the streets, and dancing, theatre, poetry reading, and art shows, holding up the traffic for a kilometre or more till midnight. Every night new groups came to participate. They liked it because it was so democratic, and there were no bureaucratic hassles like funding proposals. At the same time the South Sulawesi Arts Council (Dewan Kesenian Sulawesi Selatan) was putting on a visual arts show with artists from around South Sulawesi. I heard they spent about forty times more than our meager two million rupiahs, and there were rumours of corruption. The governor and deputy governor opened it, but hardly anyone came because it was held at the cold and inaccessible Mandala Monument, built to commemorate the 1962-63 Mandala Operation led by Suharto to recover West Irian for the Republic. Good art In the 1970s the Makassar Arts Council became a place where ambitious people snuggled up to the governor and to big business, perhaps with an eye to getting into parliament themselves. Any artist close to Golkar was guaranteed to get lots of projects and official appointments. But times have changed and now younger artists can see that this is not the way to promote good art. In the 1990s many new groups began to emerge who knew that to express themselves freely they needed to keep their distance from power. At the same time a NGO movement grew more influential among the people and also began to hold cultural activities. This offered new opportunities to the artists. As an arts practitioner on the ground, I can see that many of these younger independent artists see this as their protest against the Jakarta 'centre'. Finally it was 7 September 1999, and the ten day Makassar Arts Forum was ready to open. It had been organised by just three people, Asmin Amin, Shalahuddin, and Pak Andi Mattalata, with minimal funds. But none of the artists made a fuss about how little they were paid. Local coffee shops sent packed lunches, some of the artists themselves contributed coffee, rice, bottled water. All personal contributions. It was amazing. Nearly all the artists from around South Sulawesi came. More turned up from all over Indonesia. There were painters, dancers, musicians and theatre artists from Yogyakarta, Solo, and from so many other cities in Java, Sumatra, Kalimantan, all over Sulawesi, Lombok and Irian Jaya. Four hundred artists altogether. There were foreigners as well, from Australia, the US, Switzerland, Canada, South Korea. We worried about how we would feed them all. We went around to the restaurants in town and many contributed food or some money. Villagers sent fried bananas or cassava. All this happened outside the well-funded official arts organisations. The 'decentralisation' theme was there as an expression of self-confidence by people on the 'margins', and as a statement welcoming difference. I thought it was a wonderful recognition of diversity and generosity, of empowerment. Mak Cammana played the rebana - a traditional drum. She comes from a village in Polewali-Mamasa regency, in the Mandar region of South Sulawesi. She learned the rebana from her father and her grandfather. The rebana player is an important person in the community. They do not merely make music but also teach the Q'uran and officiate at weddings and circumcisions. Mak Coppong performed the old courtly dances from Gowa, also in South Sulawesi. They are very slow and require a lot of discipline. Unfortunately many talented dancers are lost to the art when they marry and their 'modern' husbands forbid them from going on. Quite ironic, because there are older women who have danced all their married lives. The form remains very popular in the villages for traditional ceremonies. In the New Order, these art forms were always shaped for public display by the demands of officialdom. These were occasions for officials to demonstrate their own ideas, and they would interfere in what the artists wanted to do. Sometimes officials themselves would dance, or at least train the dancers. It was all about their own ambitions. The model of the Makassar Arts Forum has in fact been developing since the 1980s. In Solo, theatre groups have long organised themselves informally, based on mutual solidarity and sharing. Anyone can contribute ideas. News goes out and comes in by letters, telephone, fax or email, through a wide network of friends within the arts community and even beyond. That is how artists in Solo grew close to the NGO movement, which was flourishing at the time as a reaction to the total failure of the political parties to reach the grassroots. Indonesia still exists. Otherwise all those artists wouldn't want to come from all over Indonesia. Some of them even suggested we should all stay together for six months or even a year and learn together. Some wanted to make the Makassar Arts Forum an annual event. They thought of Makassar as an emerging centre for the whole of eastern Indonesia. But I hope the forum will not become a monument, an annual ceremony to the greatness of any 'centre'. It should be like sand by the seaside, where children build a castle and the waves wash it away again. We need to live our traditions every day, and not turn them into a ritual. To me, decentralisation is not about making new centres to oppose Jakarta. Makassar is just a small part of South Sulawesi and of the wider region. No area should be sacrificed for someone else's 'centre'. Decentralisation means that every region is its own centre. HalimHD (halimhd@hotmail.com, pinilih@hotmail.com) is an arts networker in Solo, Central Java. Inside Indonesia 64: Oct - Dec 2000

Naked truth

  These young artists revolt against the political crisis with their own bodies M Dwi Marianto Young Indonesian artists have started using nudity in new and quite personal ways. One artist showed a video of he and his wife making love to climax on a wet canvas. Just as some segments of society are being drawn into more normative religion, and in the midst of a Javanese society that disapproves of frank personal expression, these artists are brazenly creating a space to make very private statements. This could be their personal revolt against a necrophilic mass media culture that revels in violence, chaos and death. Like so many Indonesians, they want to know what use it is to listen to the big ideas of an intellectual elite that seems so righteous yet is so powerless against the intrigues of that very same elite. In June I visited the home of Laksmi Shitaresmi (born in Yogyakarta in 1974). She had just given birth to a baby girl. Her husband is also a painter. In their tiny living room I was shocked to see two large nude paintings of Laksmi. The breasts and pubic hair were quite naturalistic. I had seen the paintings before, but what shocked me was where she had hung them, precisely where every visitor could see. Amidst a society growing more puritan, Laksmi didn't care if anyone thought this was impolite. As I sat there snacking in her living room, my eyes were exactly on a level with her genitals. This was significant! Laksmi seemed to want to speak directly, without being bound by traditional norms that in practice stop people from saying anything personal or critical. Erica (born in Yogyakarta in 1971) is a dropout from the Indonesian Institute of Art in Yogyakarta, and one of the few female painters making a living from her work. At present she is doing a 'bathing' series. Up till now she has been painting playful, nascenes from in and around her home, and she has become quite successful. But in 1999 she began to be more personal. Bathing in my favourite villa is a self-portrait in the bath. Only the pubic area is discreetly scattered with soap bubbles (see cover). She wants to depict bathing as a relaxing and refreshing activity, but also one in which she can shed her restrictive 'cultural' clothing, at least on canvas. That is something many Indonesians long for at a time when so many crises give them a headache. Made love Arahmaiani (born in Bandung in 1961) is different again. This artist, who once studied at the Bandung Institute of Technology, has long made critical statements through her art. She has occasionally made use of clearly depicted genitalia, which in her work symbolise domination and militarism in an Indonesian context. As one of the few critical Indonesian women artists her work might appear more radical because there is so little comparison. At a performance in the French Cultural Centre in Bandung in 1999 she took off her shirt (leaving a bra) and invited the audience to take a marker pen and draw or write anything they liked on her skin. This is the first time a Sundanese woman has done this. When Sundanese greet one another they only touch with the tip of their finger. Men and women do not touch at all - they just tip their hand to their own breast when they meet. I thought Arahmaiani had been the most radical ever in terms of using the body as an artistic medium, until Nurkholis came to my home to show me a video. This artist, born in Jepara in 1969, is well known for his religiosity, and remains so to the present day. He hates pretence and has always acted just as he has spoken. His work could be called surrealist. The body painting on his VCD was truly radical. The first part showed him painting the canvas with his own naked body. That is already unusual for Indonesia, but it was nothing compared to the next part, which involved his wife. They made love, and let their natural movements imprint themselves on the wet canvas. He showed this VCD at the opening of an exhibition in the Dirix Gallery on 1 July 2000. The audience was stunned. Some reacted cynically, others looked embarrassed, while others again congratulated Nurkholis. The technique came to him after a period of dryness, when conventional painting with the brush no longer satisfied. In frustration he kicked the wet canvas and it left an impression of his foot. He then developed this idea until his entire body was painting on a canvas already covered in wet paint. A simple idea, but it had a big impact especially among younger artists and collectors in Yogyakarta and beyond. I think Nurkholis' search for a new language to express himself is shared by many Indonesians, who are no longer satisfied with the 'true and correct Indonesian' (bahasa Indonesia yang baik dan benar) they were taught at school to understand their national crisis. These four artists are looking for an answer to a personal problem, but their discoveries represent an open visual text and a symbolism with much wider relevance. They are working in the midst of a multi-dimensional crisis that directly or indirectly affects their personal lives. They speak visually in a language whose vocabulary is drawn from the body - a very private language. When I still lived in Rawasari Kampung in Jakarta I often overheard the neighbourhood women bicker. A few times one of them would turn around, bend over and in her fury lift her skirts and say: 'Your face is just like my arse!' Maybe these four artists are like many other people who find themselves simply confused by all the very true but also very remote political analysis in the media. To all that big talk they want to say: 'Why don't you just shut up and learn to control your inner self first'. M Dwi Marianto (isiyogya@yogya.wasantara.net.id) is a well-known art critic. He teaches at the Indonesian Institute of Art in Yogyakarta. Inside Indonesia 64: Oct - Dec 2000

Review

Review: How one man's courage changed the course of history Ron Witton This book is a beauty. It tells how the sixteenth century Dutch East India Company, the grand old VOC, spread its tentacles across the globe in search of the inordinately valuable spices of the eastern islands of present day Indonesia. The Dutch, like other European nations (particularly the English, their greatest competitor), initially followed Columbus westward from Europe in order to find a passage to the East Indies. This resulted in the Dutch establishing themselves on Manhattan Island, which they named New Amsterdam. They sailed up the Hudson River hoping to reach the Pacific. When that proved unsuccessful, they began to explore northwards in search of the fabled, but ultimately impassable, northwest passage. Others travelled northeast from Europe in search of an equally fabled, but also unpassable, arctic passage along Russia's northern coast. Mariners had horrifying experiences caught in winter ice floes thousands of miles from home, on routes that would prove fruitless. Even the proven passage to the east via the Cape of Good Hope was perilous, but with luck they returned to Europe with cargoes of spices worth far more than gold. There are enough stories here of heroism, horror and adventure to keep the reader awake until late at night, exploring the roots of modern empire. Contemporaneous illustrations and maps are an added bonus. Not till two thirds through this gripping book do we meet Nathaniel, whose 'courage changed the course of history'. He was an Englishman committed to his nation's titanic economic struggle against the Dutch. He succeeds in taking over and fortifying the now forgotten island of Run, which lies 'in the backwaters of the East Indies, a remote and fractured speck of rock that is separated from its nearest land mass, Australia, by more than six hundred miles of ocean' (p2). Forgotten today, it is not even shown on modern maps. However, Run Island figured prominently on seventeenth century maps because of the fragrant nutmeg that grew in abundance there. The island was the key to monopoly control of the world's supply of this fantastically valuable spice. For five years, Nathaniel Courthorpe and his half-starved band of thirty men were besieged by a Dutch force one hundred times greater. Their heroism led directly to one of the most momentous geo-political rearrangements of the world. Stymied by Courthorpe's courage, the Dutch were forced to give the English the island of Manhattan in exchange for this now insignificant speck of rock. Thus New Amsterdam became New York. It is a tale so fantastic that one is left wondering why it has never been previously told. Giles Milton, Nathaniel's nutmeg. London: Hodder and Stoughton, 1999, 388pp, ISBN 0340696761 (pbk) Ron Witton (rwitton@uow.edu.au) teaches at the University of Wollongong, Australia. Inside Indonesia 65: Jan - Mar 2001

In this issue

The environment after Suharto Gerry van Klinken The colonial Dutch romantically called their tropical possessions 'a girdle of emeralds'. Even today many Javanese living rooms are adorned with paintings of rustic villages amidst luxuriant green in a style called Mooi Java, Beautiful Java. But the 'unspoiled' coral reefs and boundless wilderness proclaimed in the tourist brochures have been under threat for at least a century, and especially during the rapacious industrialism of the New Order. Now that the New Order is gone, how is the environment faring? This edition of Inside Indonesia addresses that question. The single biggest change since the end of the Suharto era is the weakness of central government. Just as its strength under Suharto was a mixed blessing, so is its weakness today. On the one hand, weakness in Jakarta provides locals living around destructive megaprojects with the opportunity to reclaim their right to clean water and land. We should welcome, not regret, local pressure on paper pulp, mining and other such companies. On the other hand, weakness has robbed government of any leverage it may have had to keep destructive activities in check. If under Suharto the government was not brilliant on implementing environmental regulations (to say the least), today even that minimal effort has become nearly impossible, as Lesley Potter and Simon Badcock's article on the Riau forests demonstrates. The answer, our authors seem to be saying, now lies elsewhere. Non-government organisations, of whatever nationality, working for a sustainable Indonesian environmental policy need support. And international companies with poor environmental records - Australian miners, Malaysian palm oil companies - need to be pressured in their home countries to raise their standards. We hope this edition will contribute to that answer. As always, our sincere thanks to all those who made this edition a reality, especially our expert and therefore busy authors who made time to write. Gerry van Klinken is the editor of Inside Indonesia Inside Indonesia 65: Jan - Mar 2001

Pak Rabun and the wilderness

Across Kalimantan by boat and on foot Ciaran Harman Pak Rabun was padding along the mulch in the sparse undergrowth when he stopped and went tense. When he turned around, he had an enormous grin on his face. 'Babi!' he mouthed past me to his grandson Tusung behind me. 'Thank God!' I almost said out loud. Even I could see them. The track we were following sloped downward between giant rainforest trees and the straining saplings between them, and turned left to run upstream beside the Hubung River. Just on the other bank, lit up angelically (or so I remember it) by a shaft of light let into the forest by the slice the river cuts through it, were a family of wild boar. Pak Rabun was doing a little dance while Tusung quietly dropped his pack and began stripping down to his shorts. They were as happy at the prospect of something other than rice and fish to eat as I was. Tusung took off his rubber shoes and the long flour-sack socks that tied up under his knees to keep the leeches off. He tied a bandanna around his head, picked up his ten-foot ironwood spear and with his grandfather right behind, trod down the track, around a tree and out of sight. They were such an odd pair. Tusung was huge, his shoulders a mile wide, but coloured like an old map where the untreated eczema that covered them and ran down his arms had taken the pigment out of his skin. He spoke rarely but deliberately, and usually jokingly. He had an appreciation of sarcasm. I liked him. His grandfather Nyurabun, or just Pak Rabun, was the toughest 63 year-old I had ever met. He didn't wear shoes. Ever. He kept leeches off with chewing tobacco and a large and expertly wielded mandau, a type of machete. He had long stringy hair and a metal bar through his penis and I am quite sure he thought I and every other tourist he had taken through the jungle were completely mad. The rainforests of Borneo have the greatest species richness of any patch of ground on this earth. They are also rapidly disappearing. Rafts of giant logs lashed together had floated past my riverboat every half-hour or so on my three-day journey up from the coast at Samarinda. Every now and then a red scar and a logging camp would appear on the banks as we pushed past. As though some rough beast had hauled itself up from the river and begun devouring the jungle. My plan was to travel up the Mahakam River in East Kalimantan as far as I could, then find some guides to take me across the Muller Ranges and into the catchment of the great Kapuas River, which led to Pontianak on the west coast. I wanted to see what was left of the wilderness. I wanted to breathe it all in. I wanted to become part of it. As it turned out I became more a part of it than I intended. The leeches siphoned off about a pint or so of my blood and thus made me well and truly part of the ecosystem. From Samarinda in East Kalimantan, the Mahakam kinks and bends up through the lakes and the plains, through Long Iram where it crosses the equator, past mosques of diminishing size (the Javanese transmigrants prefer the coast) to the inland town of Long Bagun. You can only get so far inland by riverboat though. To get the rest of the way to the last major outpost on the river, Tiong Ohang, you have to either fly in with the missionary airline from the coast or spend a couple of exhilarating days in a high powered longboat shooting the rapids above Long Bagun. Always the sucker for the long way round, I spent one amazing day in a boat gunning against the forces of nature between cliffs of fern and waterfalls. On the second day rain set in. With water all around me I had little choice but to sit under a leaky tarpaulin beside chain-smokers and crying children, only now and then getting a glimpse up into the vast forests I was entering. Fortune seekers Tiong Ohang was a mixing place, a strange sort of frontier town where the local Penihing Dayak people co-exist with young Banjar men from the south. Upstream there was only the forest and a few small and very old Dayak villages, but in Tiong Ohang the Banjar fortune seekers live. They scale the crumbling limestone cliffs to collect edible birds nests for about four million rupiah (approx. A$800) a kilogram. The young men told me you could make a thousand dollars in a month. Many did, they said, only to go down to the coast and blow it all in a couple of days of carousing. One even bought himself a motorcycle and managed to lug it all the way back to Tiong Ohang. Some of the young fortune seekers told me they knew some people that could take me across the mountains and into West Kalimantan. They took me to the end of the town, out where the slash and burn fields began. Pak Rabun's house was raised up on stilts like all the others, and inside was furnished with rattan mats. He certainly looked the part of the Dayak guide. He had broad feet and thick stumpy legs. His hair seemed like hanging lianas, black and ropy. At first Pak Rabun reminded me of an old English gaffer. He kept his viney hair under an old flat cap and smoked a pipe as we negotiated costs. No quiet old Englishman could boast Pak Rabun's strong nimble body though. Across his muscled chest and shoulders the skin sagged only slightly under his tattoos. 'Devil' was printed roughly on his left arm. Pak Rabun was Catholic. He said it was to remind him that evil was always close by. As close as his left arm apparently. Across his chest was written 'Hatiku Bahagia Karenalah Engkau', or 'My heart is happy because of you'. He was always ambivalent about who this referred to. On his right arm was the most cryptic: 'Masaq Lona'. 'It is what it is,' he would say, 'Masaq lona. Far from my eyes, close to my heart.' We settled on a fee for Pak Rabun and his grandson Tusung. A couple of days later we set out. In a long thin boat called a 'ces' we pushed upriver until well into the afternoon and camped in the unoccupied home of a friend of Pak Rabun. The next day we began climbing up from the river and into the forest. Shades of green The journey through the forest was painted in manifold shades of green. At times it was like walking underground. There was not the sense of distance or time that pervades the Australian landscapes I am used to. This was an ecology of the intricate, not the vast and explicit. Trees fought their way into the canopy, spreading roots like armies across the wet ground. When they died they did not really die, they were chewed up by a billion termites and bright fungi and became new. Sometimes a skeleton of fig vines would remain to mark the spot. The air was cool under the canopy but thick with life. It hummed. I had expected it to sound different. I thought rainforests sounded like zoos, with thousands of birds and howling monkeys. Instead, one bird would sing with a voice that filled up the whole forest, and always off to the left or the right was the bright rustle of the river. Otherwise it was quiet. Perhaps the quiet was my fault though. My puffing stumbling frame could probably be heard for miles and could have scared off most animals. That was why when we came upon those wild boars on about the fourth day, Tusung and Pak Rabun hushed me up and sat me on the ground as they stalked off ahead. I picked leeches out of my shoes as I waited. Socks were no defence against them and wearing boxer shorts instead of briefs had been a very bad idea. Sitting there alone, the silent forest felt bigger. I felt like I was inside a living thing, rather than just surrounded by trees. Suddenly, with a rustle and a crash, an animal bounded out onto the path in front of me. When it saw me it stopped rock still. It might have been a barking deer or a kijang. It was no more than four feet high and had a brown velvety coat. For about half a second, we stared at each other in shock. For that deer it must have been as strange to see me sitting there as for me to see a wild deer skipping through the centre of my native Perth. The lovely animal caught its wits and bolted, crashing away through the undergrowth again. I felt like an intruder. As though I had walked in on Mother Nature in the shower. I had seen parts of nature that would otherwise have tried hard to remain hidden. It wasn't an epiphany or anything of that sort, but I understood then the importance of wilderness. To strip nature down to resources and a few scattered national parks was to leave it dressed in rags. Wilderness, the untamed places, where those like Pak Rabun and Tusung become part of the forest in order to survive within it, rather than bend it to their own will: those are the places were we can see into the life of things. Tusung and Pak Rabun soon returned empty-handed. I was not really disappointed at all. Ciaran Harman (ciaran69@hotmail.com) is a student in environmental engineering and Asian studies at the University of Western Australia in Perth. He was participating in the Acicis Study Indonesia Program in Yogyakarta (wwwshe.murdoch.edu.au/acicis/). Inside Indonesia 65: Jan - Mar 2001

Future Indonesia 2010

What will Indonesia look like in 2010? Dedy A Prasetyo Four scenarios for Indonesia in 2010 were launched on 1 August 2000 at the Proclamation Statue in Jakarta. A quarter of a million copies were slipped into newspapers around the country. They contained four pictures of what Indonesia might look like, in the form of stories entitled 'On the edge', 'Into the crocodile pit', 'Paddling a leaky boat', and 'Slow but steady'. These were not predictions of the future, nor were they strategic plans. They did not describe some utopian future or even one we would quite like, but simply possibilities that might occur because of what we do today. One of several approaches to picturing the future is known as scenario planning. Scenarios are a tool to help us perceive different futures, each of which is influenced by decisions we make today. Put simply, they are a combination of stories - written or oral - that make up a bigger plot. A scenario gives a multi-perspectival picture of a complex future. Precisely because the future is unpredictable, scenarios are good planning tools. Creating a scenario is a dialogical process that brings together different visions and interests. The aim is to bridge the gap between key analyses of present day problems and various possibilities in the future. Our view of 'the future' usually contains three elements: what is likely to happen, what I would like to see happen, and what might happen. The first leads to prediction, the second to subjectivity (wishful thinking). But scenario planning emphasises the third - what might happen. Scenario building has been much used in international business, but it has also been used at the national level. Perhaps the most famous example of the latter is the South African Mont Fleur process. In 1991/92 South Africans came up with four scenarios of what might happen there in ten years time (2002). In 1997/98 Columbians produced Destino Columbia, with four possible futures for the year 2013. Most recently, Guatemalans built three scenarios that they named Vision Guatemala. The small island state of Singapore has been using scenario planning since 1993. Japan has three scenarios for the year 2020. The steering committee for Future Indonesia 2010 consisted of about thirty individuals - academics, human rights workers, politicians, economists, businesspersons, religious figures, military, and others. They were supported by the Future Indonesia Working Group, including Asmara Nababan, Marzuki Darusman, Binny Buchori, Emil Salim, HS Dillon, Felia Salim, Emmy Hafild, as well as some facilitators - Daniel Sparringa, MM Billah, Edy Suhardono, and Rudolf Budi Matindas. These groups wrote the preparatory studies and then spread the word to many different groups all over Indonesia. It all began with a meeting in Bogor early in 1999, where activities were set in train to eventually come up with the Future Indonesia scenarios (Indonesia Masa Depan). The idea was to stimulate discussion, fresh thinking, and debate among Indonesians about the future of their country. We hoped that some collective consciousness would be born within society that tomorrow is the result of our actions and decisions today. We also hoped people would not stay trapped in mutual recriminations over the problems of today or yesterday, but would set out on a constructive journey in search of the alternatives stretched out before us in the future. This way, we hoped, the Indonesian public would take part in thinking about Indonesia's tomorrow, and become involved in creating that future. Various groups within society, each as varied as the other, then began taking initiatives. They engaged in dialogue, while avoiding dogmatism. It began in East Java in July 1999, where about thirty quite different individuals from all over the province came together. For three days, they tried to build future scenarios for Indonesia in 2010, from an East Java social perspective. Similar dialogues followed in other cities and regions, among them Medan, Mataram, Riau, Makasar, Samarinda, Pontianak, Palangkaraya, Bali, Yogyakarta, West Java, Kupang, Jayapura, Central Java, and Jakarta. Fourteen dialogues were held in all. The results of all of these dialogues were then compiled and synthesised in a national dialogue meeting attended by representatives from each region. A great number of fresh ideas came out of this dialogical process, as did much anxiety and sharp criticism about what kind of future Indonesia was heading for. Among the matters most often raised in the discussions were these: centralisation and decentralisation, injustice, religious conflict, the growth of democracy after Suharto (including cynicism about it), law enforcement, gender issues, constitutional amendments, national leadership, environmental and cultural exploitation, state involvement in the economy, relations between Javanese and non-Javanese, and the role of the police and military. All these issues could be divided into two groups - those that mainly concerned people in Java and outside Java. Participants within Java focused more often on the rule of law, whereas those outside Java focused on (de)centralisation. However, civil society issues concerned everyone, whether within or outside Java. New ideas are not always readily accepted, and so it was with this dialogical project. Depending on their region of origin or their personality, people responded in many and varied ways. People outside Java often felt suspicious there was some hidden agenda at work in the project. Inside Java, on the contrary, suspicion was far less. It generally revolved around the question of who would benefit from this dialogue, where the money came from, and whether there was a 'conspiracy' behind it. It was an exhausting process that now and then broke out into frustration when confronted by these various 'bad' thoughts. Very clear explanation was especially required when speaking about the concept of the scenario. Unless misconceptions were cleared up here at the very beginning, they were likely to reinforce already existing prejudices. However, as the dialogue proceeded, suspicion, pessimism and cynicism tended to recede. Sometimes the dialogue closed in quite a touching atmosphere, as people said with tears in their eyes that their suspicions had been unfounded. Whichever wise person said that democracy is expensive and exhausting, said a true thing. Scenario planning is a clever instrument to explore the views that live within society. Straight from the heart, these views can then become the basic capital for a strong civil society in Indonesia. Ironically, the Future Indonesia dialogues often threw up some strange contradictions. At a moment when so many participants had the opportunity to represent the strength of civil society, they often spoke like government spokespersons. As a result, it was hardly surprising if at times the vision put forward was no real alternative to the dominant vision produced and reproduced by the state. Even more saddening was the discovery that many participants seemed to retain the New Order perspective that there is only one truth. This made it very difficult to make the necessary linkages leading to a new future. However, scenario planning is a vital tool in learning democracy. In several regions, the dialogue forum became a medium for reconciliation between various elements of society that had hitherto been at odds with one another over the spoils of office. Even if they did not become a collective movement, the forums bore witness to a new possibility and created a space that brought people together without regard for the attributes of power, politics, ethnicity, religion or social standing. Let us hope that this kind of dialogical process can continue, drawing on the lessons that have already been learned. The choice is ours - we, the people of Indonesia. And Indonesia's future is made today. Dedy A Prasetyo (deape@hotmail.com) was a program officer with the Working Group for Indonesia Masa Depan. He is a law student at the University of Indonesia in Jakarta. Inside Indonesia 65: Jan - Mar 2001

Skin signatures

Of pigs, puppets and protest

Punks for peace

Confused?

Letter from Makassar

Naked truth

Review

In this issue

Pak Rabun and the wilderness

Future Indonesia 2010

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