Author and co-author of over 20 books and numerous articles on Indonesian art, culture and history, Bruce W. Carpenter is considered a leading expert in the field of Indonesian studies. His publications include Willem G. Hofker, Painter Bali (1994) W.O.J. Nieuwenkamp First European Artist in Bali (1997) Batak Sculpture (2007), ethnic Art of Indonesia (2010), gold jewelry of the Indonesian archipelago (2011), Nias Sculpture (2013) Lempad Bali, the Illuminating line (2014) and Indonesian Art tribal (2015) .
Can you tell us how and why you have landed in Indonesia?
My first Indonesian experience was at the Universal Exhibition in New York in 1964. As imaginative young boy I am fascinated by the spectacular Indonesian pavilion, whose construction had been personally overseen by Sukarno, the first president. I did not understand much, but I knew I wanted to go.
This possibility was raised in the 1970s after college. No one bothered to tell me that the purpose of going to school was to make a living, so I had studied Oriental art and history. Unfit adventurous and I headed to Amsterdam, where I had my second encounter with Indonesia Tropical Museum. As the second winter came around I decided to flee northern climates and headed east based on advice provided by the first travelers on the hippie trail that led to Bali, where I landed in 1975.
Tell me about your first trips in the archipelago.
After a stay in Thailand and Malaysia, I took a boat to Medan and immediately headed to Prapat on the shores of Lake Toba. I arrived in the moonlit night and was surprised to hear of the Batak singers belts on a variety of melodies that echoed across the waters in a splendid harmony. The following year, I travel to Java, Bali, Borneo, Sulawesi, the Lesser Sundas and beyond.
Bali was the penultimate sanctuary - a place of beauty, grace and rest. Like thousands before and after millions, I was struck by the romance and fell head over heels. It is hard to believe that there was no electricity outside Denpasar. Until 1994, communications with the outside world were abominable.
How and why did you start writing?
My grandfather was a senior professor at the University of Cambridge who was a leader of the culture and languages of the Middle East. I greatly admired him and hoped to follow in his footsteps, though my hippie career took me out of the usual track. My first book co-written with Dr Denny Thong and Stanley Krippner was on the traditional Balinese healing. Stanley and I actually wrote an article on the analysis of dreams Balinese which was published in the magazine Shaman Drum , which later included one of the articles of Robin Lim.
Formed in art history, I am appalled that so little has been published on Indonesian art and artists. In fact, I researched my book on W.O.J. Nieuwenkamp next, although he was released later. In the process, I met Maria Hofker, the widow of the Dutch artist Willem. Friends of Rudolf Bonnet and Walter Spies, they had lived a remarkable life in Bali from 1938-1942, who suddenly and tragically ended with the Japanese invasion. She invited me to author a book about her husband. It was a huge success. I would also like to believe that he played a key role in the remarkable price obtained by paintings Hofker today.
Over time I turned to my true love, Indonesian art, producing an average of one book every year or two.
One of the most difficult publications Carpenter, Lempad Bali
Lempad Bali took many years to accomplish. What were the challenges in developing this massive, comprehensive tome on this master of traditional art?
I went Lempad on my first trip and eventually become a close friend of his eldest son, I Gusti Made Simung that I, and many other expatriates, considered a brilliant mentor and humorous of all things Balinese. Each one talked about the need for a book and waiting John Darling, to accomplish this task.
This early idea would only begin to take shape around 2006 when the 50 e anniversary of the Museum Puri Lukisan, when I was asked by Soemantri Widagdo to help with major retrospective exhibition and catalog. It took us years to track down hundreds of his paintings, which were scattered around the world. As artistic director, project manager and co-author - with five other experts mentioned - I would think of it as a gift to the Balinese people for all they have given me
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recent book as Bruce Carpenter on tribal art in Indonesia
What about your latest book - Indonesian Tribal Art
one of the most exciting developments of the last decade is the discovery that the history of art in Indonesia is much older than ever imagined. The best example is the discovery of prehistoric cave paintings of Sulawesi that was believed to be aged 1500 to 2500 years are actually from 38,000 to 40,000 years. Not only Indonesia - and the Alta Mira caves and Lascaux - home to some of the early art in the world, this discovery is just the tip of the iceberg, since thousands of cliffs and rock paintings are found throughout the 'archipelago. This and many other exciting discoveries are discussed in my latest book Indonesian Tribal Art , which also has a stimulating introduction written by the Joseph Campbell Foundation.
How do you see contemporary Indonesian artists expressing modern issues while respecting their historical cultures?
For much of colonialism broke the link between old and deep traditions of art and modern and contemporary art. Shockingly, many Indonesian artists believe that true art has come to the West! One of the biggest challenges is to reconnect with their own tradition. The process has already begun, but is often plagued superficial frills - the random inclusion of wayang puppets or other traditional icons - lacking conviction and depth. Unfortunately, as everywhere, the art market here is driven by commercialism, and with few exceptions are not interested in the broader implications of the history of Indonesian art and how it relates to art contemporary.
Why is awareness of historical art and culture of Indonesia important for future generations?
greatest asset of Indonesia's youth. Creativity abounds everywhere despite the dysfunctional nature of the political system and infrastructure. I am confident that they will find a way forward. One of my biggest complaints with young Indonesians is that they should begin to appreciate, study and write about their own art, culture and history.
What are your plans to continue sharing the history and art of Indonesia with the global community?
Indonesia is one of the largest reservoirs in the world of design and creativity. China may be able to mass produce things cheaper, but Indonesia brings another dimension that reflects the soul of these remarkable people. One of my biggest fears is the failure of many to understand the tragedy of poverty is not limited to food, water and clothing only, but also the pride and identity.
A people can reach a minimum of prosperity, but if you strip them of their history and art that you made a mistake comparable to steal their souls.
Unfortunately, the amount of money made available for the preservation of culture is limited, often inconsistent and distributed by those with specific cultural biases with the so-called traditions "refined" get the big money. There is also little sense of philanthropy in Indonesia; national and local museums have limited funding and are considered boring and outdated. Private museums are inevitably vanity projects often collapse due to unprofessional management, indifferent collections and lack of funding. The largest museum in Bali founded in the 1930s in Denpasar, but is little known and in need of restoration and dynamic management.
Billions are spent on sports and other mass events, but get a grant to produce a book or study of a unique form of art of disappearance is an almost impossible task. My hope is to stimulate the appreciation and awareness of the value of these fragile traditions, many of which have already disappeared.