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“The Queen of Butt” Crawling from Village to Village

Name: “The Queen of Butt” Crawling from Village to Village
Uploaded: 2024-04-27T13:04:11Z
Duration: 20 min 32 s
Description: It is said that women who were masters of life who wandered from village to village became strong women.

It is said that women who were masters of life who wandered from village to village became strong women.

This article has been translated using AI. See Original .

IGNATIUS NAWA TUNGGAL

· 6 minutes read

From a painting entitled "The Queen of Pantat", the figure of dangdut singer Inul Daratista is discussed. She is considered to be one of the strong female figures and is in line with what Kartini fought for. She became the master of life who spread from village to village.

The painting is by Zipit Supomo using acrylic paint on canvas measuring 150 cm x 130 cm with the date of creation in 2003. This work is among 56 collections from Bentara Budaya on display at the Bentara Budaya Art Gallery, 8th floor of Kompas Tower, Jakarta, entitled Women: The Female Figure in the Eyes of Artists.

The exhibition is a collection of paintings about women made by famous artists from 1941-2019 to celebrate Kartini Day. This exhibition will be held April 24-May 31 2024.

"In the painting 'The Queen of Butt', it does not mention the name Inul Daratista. However, this work was also selected to be exhibited by referring to the assumption that the figure of Inul Daratista is in the painting," said exhibition curator Frans Sartono on Wednesday (24/4/2024) night, ahead of the opening of the exhibition at Bentara Budaya Jakarta.

Zipit Supomo painted a woman wearing a tight, bright red tank top that was slightly open at the back of her hips. She carried a microphone and danced with her buttocks shaking. Behind this painting of a female figure there are many small silhouette images. The silhouette paintings show various buttocks shaking which then reminds of "goyang ngebor" which was once attributed to Inul Daratista's unique style on stage.

Frans said that in the 2002-2003 era, together with Bre Redana, he interviewed Inul and wrote about it for the daily Kompas. At that time, Inul began to be seen performing on television stations in Jakarta. Previously, Inul was a dangdut singer from Pasuruan, East Java, only known around East Java. Someone recorded a video of the performance with rocking and drilling in many places. The recording was duplicated and widely traded. Inul is starting to become known.

Also read: The Journey of a Life Fighter, from Behind the Palace Walls to the Edge of the Rice Fields

Frans depicted Inul as a crawling creature moving from village to village. At that time, Inul was singing dangdut from one stage to the next, from one village to the next. Even in one day, Inul could perform in six consecutive locations.

"At that time, Inul performed in various places to earn money to fulfill her desire to create a small shop at her mother's house," said Frans.

The term "melata" passed from village to village was taken by Frans, together with Efix Mulyadi as the curator of the exhibition, from a poem titled "Perempuan-perempuan Perkasa" (Strong Women) by poet Hartoyo Andangjaya. Here is an excerpt from the poem.

Strong women who carry baskets in the early morning,

who are they..

They are mothers with hearts of steel, strong women

roots that spread from the hilly land down to the city..

They are loving people who move to support village after village..

Without title

A powerful woman is also depicted in an untitled painting by Danarto (1940-2018). The painting uses mixed media on a canvas measuring 150 cm x 170 cm and dates back to 2013. There is a female figure facing a monster that is grinning with its teeth bared and its tongue hanging out.

"The woman's painting recalls the heroic female comic character, Sri Asih. She is a powerful female figure from a comic that once existed in Indonesia," said Frans.

Danarto is a writer who is known as a pioneer of magical realism literature. He has written numerous literary works such as short stories and drama scripts. However, he once pursued an education in an academy of fine arts in Yogyakarta. Danarto also served as a lecturer at the Jakarta Institute of Arts (IKJ) and was active in the theater world.

"In 2013 Danarto came alone to Bentara Budaya Jakarta and brought this painting," said Frans.

The next painting by Danarto is also featured in this exhibition. The painting is titled "Buroq" (2007), using mixed media on canvas sized 100 cm x 150 cm. Danarto's paintings are known for their illustrative style.

"From his untitled painting, the depicted woman's figure appears mysterious. At present, the narrative constructed by Danarto at that time is still being investigated," said Frans.

Out of the 56 paintings exhibited from the Bentara Budaya collection, the oldest work was created in 1941, titled "Putri Mangkunegara VII" by Soebanto. The newest work is titled "2019: Ambrosia" by Harindavati. The time span between them is 78 years.

Frans Sartono and Efix Mulyadi outlined a curatorial note entitled Women: Fighters for Lives Full of Compassion. Excerpts from the poem "Perempuan-perempuan Perkasa" by poet Hartoyo Andangjaya overshadow the selection process for the collection of paintings to be exhibited.

There is a resemblance to the fighting spirit of RA Kartini and it is presented as a landscape of women's struggles in Indonesia. In several works, the traces of women's struggles can be seen behind the walls of the palace, as well as rural women with their rice fields. There are village women and socialites in the glittering city. From the dancers of tayub in rural areas to the dancers on stage in entertainment venues.

From baskets in markets to migrant workers in foreign countries. If you look at the works in the collection displayed, in general the painters of the old master generation had an ideal view of women as being mothers, nurturing, loving and loyal wives.

The painting "Wife" by Soedibio was mentioned. There, women are depicted as warriors defending the family, breadwinners for the family or breadwinners. This is also found in the works of Batara Lubis and Ipe Ma'aruf.

The generation after the next seniors often photograph women in various functions and roles with all the wide and complex life problems. They live in the midst of the spread of thoughts on double roles, identity, equality, the impact of industrialization, and the increasingly distant relationships among citizens. There is a typical loneliness of modern society and so on.

Discrimination

Displaying the inspiration of strong women is useful for efforts to curb the ongoing discrimination against women. Ilham Khoiri, the General Manager of Bentara Budaya & Communication Management, Corporate Communication Kompas Gramedia, expressed this in his introduction to the exhibition as well as the accompanying notes for the curatorial.

"In many places, women's position is pushed, marginalized or subordinated under men's control," said Ilham.

Also read: Growing Hope for Public Sculpture

It is not uncommon for women to be pushed into dealing solely with domestic or household affairs. Women's energy and time are drained by household demands, leaving no room to develop beyond it. Men tend to have the freedom to develop themselves and play a greater role in life.

"Discrimination against women occurs in almost all areas of life," said Ilham.

Ilham recounts the story of Raden Ajeng Kartini (1879-1904), the daughter of the Regent of Jepara, Raden Mas Adipati Aryo Sosroningrat. Until the age of 12, Kartini studied at the Europeesche Lagere School (ELS), equivalent to primary school. She was then secluded and stayed at home.

Kartini expressed many concerns about various forms of discrimination experienced by women in her time. Women were unable to pursue higher education, were married off to unknown men, and oppressed by a patriarchal social system. "Kartini then encouraged women's emancipation so that they can obtain rights and treatment as obtained by men," said Ilham.

Kartini's struggle knows no end. Brave women continue to emerge and challenge discrimination. This struggle is worth remembering and celebrating together.

Editor:

DAHONO FITRIANTO

“The Queen of Butt” Crawling from Village to Village

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Discrimination