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Abstract This article analyses explorations of social and environmental problems and solutions in artistic representations of the Indonesian countryside and rural society, culture, and wisdom. It focuses on urban—rural creative collaborations that combine traditional culture and knowledge with modern technology and media, such as drones and the Internet, to empower local communities, promote artistic innovation, and enhance environmental sustainability.

It seeks to demonstrate that contemporary art and media strengthen the urban—rural network and the accessibility and exchange of creative ideas and information. At the same time, the author argues that some of the causes of cultural conflict and anthropogenic disaster are embedded in forms of audio-visual representation itself.

The display of urban—rural encounters in art festivals and social media can even instigate new forms of surveillance, and power and knowledge hierarchies, or reinforce regimes of consumer culture, partially responsible for the very problems the audio-visual representations and collaborations seek to address.

Keywords: contemporary art; rural culture; environmental problems; creative collaboration; Indonesia This article analyses explorations of social and environmental problems and solutions in artistic representations of the Indonesian countryside and rural society, culture, and wisdom. It critically examines these representations and collaborations by positioning them in a history of artistic engagements with the environment and the countryside in the Indonesian archipelago, dating back to modern painting traditions during colonial times.

The main case study of this article deals with collaborations between the Bandung-based Common Room Networks Foundation and the Kasepuhan Ciptagelar community in rural West Java. Artists from Kasepuhan Ciptagelar have also hosted and worked with international artists, sometimes through the Common Room Networks Foundation, and have presented their art and community at festivals, conventions, and media outlets in Asia, Europe, Australia, and North America.

There are also numerous audio-visual art projects, documentaries, news broadcasts, and amateur videos related to Kasepuhan Ciptagelar on YouTube and other Internet platforms.

My article analyses audio-visual forms of creativity that are accessible on the various digital platforms, but it is also based on ongoing observations of the art scene and the media in West Java since and conversations with, and research about, the Common Room Networks Foundation and other visual artists since This article seeks to demonstrate that contemporary art and media strengthen the urban—rural network and the accessibility and exchange of creative ideas and information.

In this sense, they express a desire for coevality, or the creation of a shared space for respecting differences and seeking common grounds. I show that professional art production, social media, and community initiatives have become intertwined and blurred in contemporary activism, notwithstanding some of the differences in logics, assumptions, and audiences underlying the various genres. I also argue that some of the causes of cultural conflict and anthropogenic disaster are embedded in forms of audio-visual representation itself, including the display of urban—rural encounters in art festivals and social media.

Art and social media projects highlighting social and environmental deterioration do not always cover the broader political contexts and questions of agency and responsibility. They can even instigate new forms of surveillance, and power and knowledge hierarchies, or reinforce regimes of consumer culture, partially responsible for the very problems the audio-visual representations and collaborations seek to address.

In that sense, contemporary art is not any different from other forms of art. Unlike other forms of art, however, it turns the contemporary into a dominant theme and integral aspect of its media, styles, and sites of display. Contemporary art, on the other hand, establishes and thematizes connections with people, objects, and environments in the here and now.

These engagements can range from re-adaptations of modernist and postmodernist formats to anti-imperialist, nationalist, internationalist, or cosmopolitan imagery Smith Recent information and communication technology has also facilitated the emergence of interactive, Do-It-Yourself DIY style art works, spaces, and networks, which examine the realities of the present and explore small-scale, alternative scenarios for the future Smith , In Indonesian contemporary art, new-media art collectives have expressed this desire for coevality by bringing different agents, materials, and spaces, including previously unnoticed or disregarded ones, in creative and critical dialogue with each other.

Their main focus has been on exploring the socio-cultural, political, and material dimensions of urban life in Indonesia. Their creativity and criticality play a crucial role in mediating between groups that rarely meet in daily life and in highlighting, and possibly providing solutions to, pressing contemporary issues such as poverty and pollution, which tend to be neglected or underexplored in the mainstream media, government policies, and business plans.

Their spaces, festivals, installations, performances, screenings, and wall paintings are tools to reflect on, and both physically and symbolically intervene in, the urban environment. In the Indonesian context, the urban—rural interactions often serve the dual purpose of stimulating the socio-economic development of rural areas and promoting urban renewal and environmental sustainability through the exploration of traditional knowledge sources.

These partnerships have been fruitful in some respects, and challenging and problematic in others, as I will discuss in the remainder of this article. One of their routine activities has been the Nu-Substance festival for new-media art and urban ecology, organized annually since Iskandar and his wife, the Common Room Networks Foundation co-founder Reina Wulansari, have been searching for a healthier environment for their family outside the densely populated and air-, water-, and soil-polluted Bandung metropolis.

The Common Room Networks Foundation and similar new-media art collectives provide their own responses to environmental problems, which build on, and deviate from, other artistic engagements with nature and society.

One of the other approaches in Indonesian contemporary art includes critical, socio-political commentary on the pollution and exploitation of nature caused by corporate and government power. Examples are the multimedia works by artists like Moelyono b. Another approach can be traced back to realist or idealist landscape paintings during Dutch colonialism, including the work of Abdullah Suriosubroto — , Mas Pirngadi — , Wakidi — , and Basoeki Abdullah — This style also includes the contemporary commercial landscape paintings that are offered to tourists in small galleries and roadside shops in the streets of Yogyakarta and Bali.

Like the abstract painters, they have an interest in cultural heritage and local spiritual values. With their focus on local empowerment, social participation, and creative collaboration, they seem to be furthest removed from the Beautiful Indies approach, which has been shaped by colonial views of the natural and social environment. However, both the colonial and contemporary artistic practices involve the representation of landscapes and the mapping of territories, each implying their own visual hierarchies and socio-political interests.

In its nineteenth- and twentieth-century representations, this style provided idealized representations of tropical landscapes, seemingly untouched by human intervention. It included rice fields, palm trees, mountains, and subsistence farming but excluded images of commercial agriculture.

By using panoramic views with distant horizons, details of the human costs and environmental impact of the colonial plantation system were left out of sight Protschky —4. The linear perspective objectified the landscape and confirmed the centrality and stability of the Western viewer.

It presented nature as an object to be further explored and exploited, while simultaneously naturalizing and historicizing radical changes to the environment Protschky Colonial photography since the mid nineteenth century not only embraced Beautiful Indies conventions of tropical beauty but also documented Western industrial interventions in the landscape Protschky The photographs celebrated modernity, technological progress, and the implementation of order and discipline in its close-up representations of coffee, tea, and sugar plantations and, from the first half of the twentieth century, aerial views of roads, bridges, railway tracks, and factories.

The photographs were used to promote commercial corporations, develop the careers of civil servants, and serve scholarly, scientific, and military purposes. They were also sold as souvenirs for family albums or shown as artistic and educational materials at exhibitions and world fairs Protschky — The focus on coastlines and distant landscapes kept interior kingdoms and communities out of sight and gave them an aura of mystique Protschky Contemporary urban—rural engagements simultaneously deviate from, and steer into new directions, some of the Beautiful Indies conventions.

One major change is the enhanced accessibility of the rural communities, and their involvement in their own representations. They are no longer located in a distant space and time, notwithstanding their preservation of traditional notions of space and time. These modern media and creative tools can be controlled by individuals and facilitate almost instantaneous communication and information-sharing with recipients worldwide.

They are not without new forms of surveillance and control, however. They present contemporary forms of mapping, objectification, and commoditization, which include, exclude, or transform people, goods, and information for specific reasons and purposes. They show that proximity is not always synonymous with coevality, intimacy, or knowledge exchange.

The following sections will contextualize urban—rural collaborations in Indonesia by critically exploring some of the historical continuities and changes in art and media engagements with the countryside in West Java. While initially providing a service to the Regional Development Planning Agency, the Common Room Networks Foundation has continued independent research and arts collaboration with Kasepuhan Ciptagelar.

Kasepuhan Ciptagelar refers to the modern name of a traditional community in the Mount Halimun—Salak National Park area. The earliest historical records of this community date back to This centre has shifted to various locations over time. According to the administrative and territorial system of the Indonesian nation-state, the current Kampung Gede, with a population of several hundred people, is based in the village of Sirnaresmi in the Sukabumi regency.

Some community members live outside West Java, in other regions and islands in Indonesia Suganda The name Ciptagelar, adopted in , is a contraction of the Sundanese verbs nyiptakeun to create and ngagelarkeun to show.

It refers to a specific historical phase during which the main village was created in the open, and the community was willing to present itself to the outside world Nuryanto In other words, the idea for creative and social collaboration has not been externally imposed but is the result of a two-way process of careful considerations.

One aspect of the Kasepuhan Ciptagelar community that has attracted the attention of outsiders, including artists, academics, and tourists, is the unique ways in which the community interacts with the natural environment. The Ciptagelar Kasepuhan indigenous community believes that humans are only one of many living creatures in the universe.

The underlying concept is Jagat Leutik, Jagat Gede—Jagat Leutik Sanubari, Jagat Gede Bumi Langit: awareness of the microcosm and macrocosm—the small world of consciousness and the immensity of the natural universe. As part of this philosophy, which is a source of contemporary thinking about environmental sustainability, the community makes a distinction between three different types of forest: protected forest, reserved forest, and land for agricultural and agroforestry purposes Suganda According to customary law, the community members can use the rice for personal consumption but are not allowed to turn it into a commodity to sell to others.

Unlike modern, intensified rice cultivation, Kasepuhan Ciptagelar has only one rice-growing cycle per year. The remaining six or seven months of the year are deemed necessary for soil restoration and bringing nature back in balance. Rice plants are stored for up to a year, or even longer, in small family barns called leuit in Sundanese or lumbung in Indonesian.

This approach to cultivation has secured the survival of a strong variety of rice species and has made the community self-sufficient and resilient to plagues and droughts. The whole cycle of growing, harvesting, and storing rice is guided by astrology and accompanied by festive rituals. The largest annual celebration is Seren Taun, which marks the transition between agricultural years.

Through prayers and rituals, community members express their gratitude for the harvest of the previous year and request blessings for the next agricultural cycle. The Seren Taun ceremony is open to visitors, who are welcomed with an abundance of food and entertainment.

The festival has been highly publicized in the Indonesian mainstream and social media and has become a major attraction for domestic and international tourists, scholars, and artists Suganda It aims to make the packaging, branding, and online marketing appeal to the tastes of urban consumers.

Considering the global extension of neo-liberal market structures, it is extremely challenging for this and other worthwhile initiatives to contribute to radical, qualitative changes to existing production and consumption mechanisms. The data centres are meant to assist with indigenous knowledge management as well as making information about Kasepuhan Ciptagelar accessible to the outside world.

The concept behind the radio and television broadcasts is nyoreang alam katukang, nyawang mangsa nu bakal datang looking at the past world, anticipating the future —to seek a balance between tradition and modernity, and to visually and discursively inform the younger generation about community values and customs.

Kester —36 observed some of these tendencies in the efforts by Danish art collective Superflex to promote biogas in Tanzania. Development projects in Indonesia share similar levels of complexity. For instance, the development organization Kopernik has collaborated with local artists such as Balinese rock musicians Navicula in trying to promote low-cost technological solutions to rural communities.

The recent introduction of the Mini Data Centres and other digital technology in Kasepuhan Ciptagelar was, in the spirit of coevality, guided by careful discussion between the parties with relevant expertise across various fields. During a meeting in the Gambung region, south of Bandung, in April , the various partners reached consensus on four priorities: environmental protection and conservation, cultural preservation and development, local ICT infrastructure and renewable energy development, and local economic empowerment and livelihood improvement.

The project partners started their cultural-space-mapping project in December They combined modern technology, such as Global Positioning System GPS tagging and drone-mounted cameras, with traditional territorial border-marking by the Ciptagelar community, such as prayers and offerings to ancestral spirits in the forest.

Photos of these traditional activities can provide legal evidence to support indigenous land claims. During this twenty-day project December —January , approximately 3, hectares of land were mapped. The mapping also assisted with the analysis of hydrological sources for farming and examining the relationship between weather conditions and rice production results.

The use of modern technology—such as radio, television, photography, video, digital data centres, drones, GPS, and the Internet—has greatly enhanced the information available about, and the accessibility of, the West Javanese rural community.

During the New Order, traditional groups such as Kasepuhan Ciptagelar faced not only the challenge of geographical isolation but also socio-political marginalization.

It has provided more space for indigenous communities to profile themselves and to fight for their rights, as confirmed by the establishment of the national organization for indigenous communities AMAN in Avonius While the various digital maps give the impression of precision, objectivity, and comprehensiveness, their composition relies on the specific selection, input, and editing of data.

The interpretation, application, and practical consequences of this mapping process depend on the ideological frameworks of national and regional policy-making.

In some cases, it may lead to the naturalization or even aestheticization of harmful human interference in the natural environment Demos —6.

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