Affandi to Raden Saleh: Tracing Post-Colonial Voices in Indonesian Art

After Sukarno declared Indonesia's independence in 1945, the term post-colonialism explains the era in which the nation was transitioning. The term "postcolonialism" refers to the historical era or current situation that reflects the fallout from Western colonialism. It can also refer to the ongoing effort to reclaim and reconsider the history and agency of those who were subjected to various forms of imperialism. The transitioning or reclaiming of a nation, a change of aspects was needed. From the aspects of government, culture, sovereignty, and even national identity. Hence, why the artistic identity of a nation, or Indonesian arts in this case, was transformed.

Before having our own independence, the colonial period in which the Dutch and Japanese occupations had a huge influence on our art, such as aesthetics and narratives. Learning about the history of painting is crucial as part of historical reality, particularly during the colonial era. Contact between Bumiputera and European cultures was impacted by colonialism in terms of the dynamics of sociocultural interactions. Gultom stated that Dutch painters painted the exoticism of the Dutch East Indies without incorporating any soul, reflecting the romantic views of European society at the time, so that the paintings were called Mooi Indie. By the late 1930s, local artists formed Persagi to depict Indonesian realities instead of colonial fantasies.

Indonesian artists used art as a way to assert national consciousness and reclaim identity after the country gained its independence. Early postcolonial movements such as LEKRA linked artistic expression to political ideology and the spirit of the Bandung Conference, strengthening the link between visual art and anti-colonial internationalism. The state also had a major influence on cultural policies, supporting organizations like Taman Ismail Marzuki and promoting the "Indonesianization" of art. State institutions initially supported a national cultural narrative, but during the Reformasi era, this changed to become more decentralized and multicultural, giving more room to various regional expressions.

The Bandung School, which placed a strong emphasis on social realism and national identity, rose to prominence in the 1950s. In vibrant, moving pieces that spoke directly to their lived experiences, artists such as Hendra Gunawan and Affandi encapsulated the hardships and aspirations of the Indonesians. Additionally, new colonial techniques like oil painting were adopted by Indonesia's postcolonial artists. This medium was mastered and made unique by pioneers such as Raden Saleh, who combined Indonesian themes with Western influences. Over time, Indonesian artists branched out into performance and installation art. F. X. Harsono, for instance, used these media to question conventional art and tackle difficult problems of social justice, memory, and identity. In their art, Indonesian heritage symbols took center stage. The national emblem, "Garuda Pancasila," painted by Sudjana Kerton in 1950, aptly captured the nation's growing pride and unity. A dynamic, changing narrative of their country's identity and resiliency was crafted by Indonesian artists using these diverse styles and potent symbols.

The narrative of identity and transformation is still being told in Indonesia's constantly changing art scene. Indonesian artists are attempting to preserve their distinctive cultural heritage while negotiating the difficulties of globalization as the world becomes more interconnected. For instance, Eko Nugroho celebrates local identity and resists the pressure to follow international trends through colorful, street-inspired art. In addition, a large number of Indonesian artists actively address social and political issues. Arahmaiani is notable for her daring examination of gender, religion, and environmental justice, which provokes discussions that push society to think critically and develop. These modern artists preserve Indonesia's spirit. One that is vibrant, resilient, and intricately linked to its own narratives in the face of global change through its works.

The process of recovering national identity in Indonesia is reflected in postcolonial art, which has been influenced by a variety of factors and historical struggles. From exoticism during the colonial era to the emergence of groups such as the Bandung School, Indonesian artists have consistently modified their methods and subjects to convey the realities and ambitions of their people. Indonesian art continues to be a potent force that embraces change and diversity while paying tribute to the country's legacy through dynamic local identities and critical social engagement.

References: 

Yuliana, A., & Arifin, F. (2023). Menangkap Realitas Rakyat Dan Kritik TERHADAP Kolonialisme Dalam Lukisan: Sejarah Persagi, 1938-1942. Warisan: Journal of History and Cultural Heritage, 4(1), 38–47. https://doi.org/10.34007/warisan.v4i1.1836 

Mulyono, A. T. (2022). VISUAL ART AND THE PERSPECTIVE OF ANTI-COLONIAL INTERNATIONALISM IN INDONESIA, 1950-65. PROCEEDING INTERNATIONAL DIALOGUE ON ART AND DESIGN (ICDAD) 2022 “TRANSCULTURAL DIALOGUE ON ART AND DESIGN,” 1(1). 

https://fiveable.me/contemporary-art-and-architecture-from-asia/unit-2 

Museum Affandi

Kultural Indonesia