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The art of revolutionary wars
Markas Laskar Rakyat di Bekas Gudang Beras Cikampek by S
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Markas Laskar Rakyat di Bekas Gudang Beras Cikampek by S. Sudjojono.
Starting over 200 years ago, the Indonesian people waged wars against Dutch colonialism sporadically and in different regions.
These conflicts include the Diponegoro War in Central Java (1825), the Buleleng War in Bali (1846 and 1848), the Cut Nyak Dien War in Aceh (1873), the November 10 War in Surabaya (1945) and the War on Military Aggression in Yogyakarta (1947 and 1948).
The events have inspired Indonesian artists to create works of art to memorialize and honor the heroic figures of the time.
Cinematic depictions of the colonial struggle include Pedjoeang (Fighters, Usmar Ismail, 1960), Tjoet Nya’ Dhien (Eros Djarot, 1988), animated film Battle of Surabaya — November 10th (Aryanto Yuniawan, 2015) and Perburuan (The Fugitive, Richard Oh, 2019).
In literature, the popular poem Aku (I) by Chairil Anwar stands as an icon of the colonial struggle, while in music, patriotic songs like Melati di Tapal Batas (Jasmines on the Border) and Halo-halo Bandung (Hello, Hello Bandung) by Ismail Marzuki and later Kebyar-kebyar (Shining by Gombloh) evoke the spirit of revolution.
Much of Indonesia’s visual art depicts historical subjects and themes.
The creation of such paintings began in 1947 when the Young Indonesian Artists (SIM) studio under S. Sudjojono invited its members to paint episodes of the Indonesian National Revolution.
“Do it while our memories are still fresh,” Sudjojono told the SIM Painters. His idea was supported by then-president Sukarno, and the Information Ministry provided Rp 1,500 per piece. Dozens of canvases portraying the revolution were produced.
After several months, the war paintings might have been finished. But as the Second Dutch Military Aggression was underway, dozens more works were delivered to the Information Ministry by 1950. These paintings were later displayed in various government buildings such as Gedung Agung Yogyakarta, Gedung Djoeang Jakarta and Merdeka Palace, Jakarta.
Indonesians and the rest of the world can finally see various works including Laskar Rakyat Mengatur Siasat (People’s Warriors Directing Strategy) by Affandi, previously drafted for a poster, Biografi II — Malioboro (Biography II — Malioboro) and Awan Berarak Jalan Bersimpang (Drifting Clouds and Branching Roads) by Harijadi Sumodidjojo, depicting public confusion following independence, Henk Ngantung’s Mengungsi di Kala Perang (Taking Refuge during War Time), Kartono Yudhokusumo’s Penyerangan di Daerah Pengok (The Assault in Pengok) and Dullah’s Persiapan Gerilya (Guerrilla Preparations).
Beyond the SIM, Srihadi Soedarsono recorded many independence events in sketches and drawings. One interesting example was his drawing of the fall of Dakota VC-CLA. The Indian aircraft transporting medicine was shot down by the Dutch on July 27, 1947. The plane also carried Air Force officers Agustinus Adisutjipto and Dr. Abdurachman Saleh.
Even after the “revolutionary painting movement of 1947”, revolutionary war paintings continued to appear.
Some decades after independence, Sudjojono evoked the spirit of revolution with Markas Laskar Rakyat di Bekas Gudang Beras Cikampek (Warriors’ Base in Former Cikampek Rice Warehouse).
In another sphere, Hendra Gunawan’s Jenderal Sudirman (General Sudirman) depicts the ailing Sudirman being carried in a sedan-chair in the forest. The painting, which is on display in the Indonesian Air Force Headquarters in Jakarta, appeared on the cover of the Aug. 16, 1958, issue of Star Weekly. Hendra’s Pengantin Revolusi (Revolutionary couple) was also praised as a masterpiece.
With the passage of time, the postrevolutionary generation has taken over the role of these original documenters. The wars of independence have become historical memories.
Visual artists seek to give new substance to independence, so life-and-death struggles of the past are adapted and interpreted in different ways. Many of them are certainly appealing, including the paintings of revolution by Pejeng Studio artists in Bali.
Among the postrevolutionary generation’s works is Dede Eri Supria’s 1984 creation, Perang Aceh di Kuala Gigieng-Lheue 1875 (The Aceh War of 1875), measuring 165 by 500 centimeters. This painting, based on oral accounts, textual references and documentary photos, describes in detail 1,000 soldiers engaged in a battle.
Dede’s work is equal in detail to the 1992 war painting Puputan Badung-Klungkung-Buleleng by traditional painter Made Budi. Besides Made Budi, Ida Bagus Nyoman Rai, Wayan Bendi and Ketut Sadia are traditional Balinese artists whose subject matter includes depictions of revolution.
Among the waves of revolutionary painting, M. Sochieb is an unforgettable figure. The artist from Surabaya has created hundreds of paintings illustrating fighters in combat using pointed bamboo stems and old firearms.
Interestingly, his theme converges to one moment: the War of Nov. 10, 1945. In his paintings, besides revolutionary leader Bung Tomo delivering his speech to spur people into action, Allied Forces comprising British and British Indian soldiers are also driven out and crushed.
“After studying history, there was no war anywhere else that was as dramatic and fearless as the war of Nov. 10. All the people — men and women, young and old — were united to fight for freedom or death,” said Sochieb.
