"This is my earthly life, full of trouble and struggle, and many are my enemies laugh at me ... their net words of the Kris ... You get up and I will speak and fight again. Then my enemies will be silenced and the demon crashes down. Lord, let me be a Wayang your hands. "
Raden Mas Noto Soeroto, Songs Wayang 1931
"Few people know who or what Iko East. Iko is one of many who hide behind their art unaware of their privilege of serving their fellow human beings by creating beautiful things. "
The reader quickly learns that Iko was not arise from nothing. in the late 19th century, a growing number of enthusiasts began raising the alarm that the traditional arts of the Dutch East Indies were down sharply for a variety of reasons. Their revival was to become a cause celebrity among an elite group of researchers, administrators, ethnographers, artists, architects, collectors, Javanese royalty and colonial officials who set up institutions such as Java Institute in Yogyakarta (his collection is now Sonobudoyo Museum). the movement was also affiliated with the "political ethics" newly instituted. Promoted by the newly elected Socialist government, the first in the history of Holland, it was founded on the belief that the Dutch had a historical and ethical responsibility to educate and modernize their colony and subjects.
A feeling better known in English as "The burden of the white man," the title of a poem by Rudyard Kipling in 1899, the cause was noble, of course, ethnocentric, paternalistic primarily because that principle was still mired in racial and cultural prejudice, intrinsically evil principle on which colonialism was founded. While colonialism remains indefensible, it does not discredit the many people who have played a positive role in this case, the support of several great traditions that might not have survived without their intervention. Two of the most notable successes which are still alive today are the silversmiths of Kota Gede, Java and Bali.
Unlike today many experts buzzing constantly about the need to preserve the culture and heritage with little or no knowledge of what is traditional or new, even less feasible plan to save them, the colonial government understood that any program to save the arts must begin with an expansive in-depth study of the arts and honest assessment of their current status. Perhaps the greatest achievement to this end was the enormous work of five volumes Inlandsche Kunstnijvigheid in che Indië (National Arts of the Netherlands East Indies, 1911-1930). Its two authors, the administrator and enlightened amateur colonial art, J. E. Jasper, and partner Mr. Pirngadie, a Javanese artist, are among the great heroes of the movement. So the books are, like Article Noto Soeroto dated, they not only provided the basis for developing effective programs to support traditional arts and artists, but still stand as pioneer works on the standard subject.
Iko went with a large force to recreate one of the masterpieces of Javanese art and succeeds beautifully. A crowned Manjushri sits there quietly meditating lotus asana with his eyes lowered to a Vajra he grabbed his left hand to his heart chakra. Maintained his right arm brandishes a sword long edge doubled over his head and back. Its agile, muscular torso leans slightly to the right to balance the sword and create movement. Utmost quiet and active engagement and removal of the imminent return of the Buddha are expressed with elegance and grace.
As in meditation Iko walked a troublesome path to reach his goal. The large piece of teak, we are told, separate from internal cracks early on the creation of obstacles. Courageous and humble, Iko stayed the course until the end. Hamer was so happy that he drew the attention of his circle of friends and acquaintances, both the sculpture and its manufacturer. Iko receive the ultimate contemporary honor of the beautiful statue that was offered as a gift to Queen Wilhelmina of the Netherlands and the Empress of the Dutch East Indies by JH Abendanon. It is still in the Royal Collection. In the words of Noto Soeroto he was, "A simple gift at the service of art."
After the article and Iko honor again faded in the same anonymity that drapes the thousands of Indonesian craftsmen like him. the next time you watch the magnificent sculptures, tapestries and works of art seen in many of the best hotels and restaurants in Indonesia or even your own home, stop and think about the person who ' made, and the humble circumstances and simple tools that dominate cottage industries. also remember that the greatest of these artists often live a hard life. by comparison, the great craftsmen of Japan are anointed "national treasures" a title that guarantees prosperity, honor and glory.
As one of the largest and the last reservoirs of the arts and traditional crafts, Indonesia has an important role to play the world stage in the post-industrial era. So, too, crafts and pumped cheap goods for the likes of Pier One must be distinguished masters of their craft. It is time to stop talking about heritage and do something about it. The first step is to follow the footsteps of Jasper and Pirngadie and undertake studies and assessments of the current situation with care. Identify and honor the creators of these ancient arts in the same way that contemporary artists is a prerequisite for their survival and success.