Keramah-tamahan Antikolonial : Di Meja Keluarga Asia-Afrika oleh Brigitta Isabella
tengara.id
Sahabat,
Hari ini kita duduk mengitari meja,
Dalam pertemuan keluarga,
Dilehermu kukalungkan bunga-bunga,
Diharumi dengan wangi persahabatan,
Yang kami petik dalam perihnya perjuangan,
Dari taman tanah airku.
Kami suguhkan minuman manis-manis,
Dan kasih manis-manis,
Kita saling berjabatan,
Dan mata mesra berpandangan.
Sugiarti Siswadi, “Kepada Sahabat Asia-Afrika” (Harian Rakjat, 13 April 1961)
Bagaimana dengan keramahtamahan antikolonial? Kita bisa memelajarinya dari puisi Sugiarti di atas, puisi yang membawa kita pada sejarah pertemuan dan pertukaran lintas bangsa di masa awal gelombang kemerdekaan Dunia Ketiga dan di tengah puncak Perang Dingin. Keramahtamahan antikolonial mewujud dalam keterbukaan tuan rumah yang mengakrabi tamu-tamunya untuk merawat solidaritas sesama kaum terjajah.
Abstract
This essay proposes nonsynchronous juxtaposition as a narrative device to critically engage with the complex historical legacies of the Bandung Conference 1955 and to reclaim the anticolonial poetic of the Bandung Spirit’s transnational solidarity with a classed and gendered perspective of migrant workers’ contemporary struggles. It argues that juxtaposition forges “Bandung chronopolitics”, a postcolonial politics of time that invokes affective entanglements of historical memories and present anticolonial transnational struggles. To demonstrate the creative and dialogical potential of rewriting solidarities in juxtaposition, this essay performs a close reading that puts side by side two poems titled “Kepada Sahabat Asia Afrika” (To Afro-Asian Friends, 1961) by Sugiarti Siswadi and “Seusai Badai Berpeluk Puisi” (After the Hurricane Embraced a Poem, 2009) by Mega Vristian. This essay summarily positions the poetic of juxtaposition and Bandung chronopolitics as a discursive strategy to avoid unchecked glorification of Bandung legacies and to repurpose the Bandung Spirit as a political imagination that brings historical depth to the works of Third World solidarity from below against the highly coordinated global-imperial capitalism.
The Politics of Friendship: Modern Art in Indonesia’s Cultural Diplomacy, 1950–65 Brigitta Isabella
*dalam indeks Lekra disebutkan sebanyak 86 kali
At the heart of the Cold War conflict were the competing worldviews held by the two blocs—Soviet communism and American capitalism. In a cultural context, this tension played out as an ideological competition between socialist realism from the Soviet Union and abstract expressionism from the United States. Art functioned as a means to demonstrate political and intellectual achievement, and as such both blocs funded exhibitions, travel grants and scholarships for cultural practitioners in nonaligned states as a means of soft power. Aggressive attempts to sway emerging postcolonial states were at times suspected as the return of imperialism, thus the rhetoric for Cold War ideological battles was disguised under the affectionate term of ‘friendship’. International funding from Cold War blocs to develop the fields of education, culture, economy and infrastructure in Indonesia was promoted under the guise of ‘friendship aid’, as can be seen in the pages of state-funded diplomatic embassy magazines such as Negeri Sovyet (Soviet country) and Aneka Amerika (American miscellany). This essay will outline the strategies of US and Soviet cultural diplomacy in Indonesia during the Cold War years from 1950 to 1965. Rather than work within the strict framework of Cold War bipolarity, I will explore the reciprocity between nationalism and internationalism, and examine how Indonesian artists transcended ideological divides. This essay considers artistic and exhibition outcomes of cultural diplomacy in Indonesia under that government’s astute policy of ‘friendship’, which allowed both the government and artists to engage with—and also work outside—the bounds of cultural propaganda. I will then look at the traffic of cultural exchange between Indonesia and the world that operated outside of the influence of Cold War geopolitics.
The visual heterogeneity of artworks by YHAO members demonstrates the search for identity amongst the Chinese Indonesian artists, and it was conveyed in their ambivalent articulation of identities. It is marked by the tension of dual attachment with Chinese and Indonesian nationalism, the intertwining notions of home and elsewhere, and the creative integration of Chinese and Western painting techniques in depicting (or problematizing) the image of Indonesian peoples and landscapes. This double discourse unsettles the totalizing concept of Indonesia as a nation-state, which was produced as a large scale, all-encompassing unified collective identities that were obsessed with a guarantee of authenticity. Disturbing the stable and continuous identity of a nation would raise inner differences, contradictions and segmentations—histories of difference, which a nation like Indonesia always has.
Nevertheless, Chinese Indonesians community has long been the subject of suspicion and ethnic violence given the blurred status of insider and outsider that is embedded in their identity. This sentiment is a part of economic competition and political instability in Indonesia. After the catastrophe of 1965, Chinese Indonesians received negative status as comrades of communists and consequently betrayers, whose patriotism was constantly put into question. Their transnational network made Chinese people appeared conspiratorial.20 Such negative images hence discouraged most of Chinese in Indonesia from participating in public politics or cultural activism for a long time. When the New Order government led the country in 1967, all Chinese-related cultural expressions, from family name to language, were strictly banned. YHAO then disappeared and many of Chinese artists in Indonesia had to live in exile with stateless status. Their part of history in the histories of Indonesian art could not be freely spoken until the Reformasi era. The absence of their narratives can now be spoken, and it raises an important issue for us to think of an identity which is not sealed in the closed totality of Indonesian nationalism.
simak 1700 ‘entry’ lainnya pada link berikut
Daftar Isi Perpustakaan Genosida 1965-1966
Road to Justice : State Crimes after Oct 1st 1965 (Jakartanicus)
Definisi yang diusulkan D. Nersessian (2010) untuk amandemen/ optional protocol Konvensi Anti-Genosida (1948) dan Statuta Roma (2000) mengenai Pengadilan Kejahatan Internasional. (disalin dari Harry Wibowo)
Perpustakaan Online Genosida 1965-1966 