Mahfud MD, the former coordinating minister for political, legal, and security affairs, delivered impactful remarks recently, aligning with President Prabowo's vision for a brighter future for Indonesia. Speaking at an event to celebrate the anniversary of the Alumni Corps of the Islamic Students Association (KAHMI) on December 27, 2024, he reinforced the commitment to realizing the 'Golden Indonesia 2045' goal. He emphasized the need for drastic improvements to the nation's human resources, arguing this is pivotal to achieving the ambitious aim of raising per capita income to USD 24,000 by 2045, up from the current figure of around USD 4,700.
"Yes, it is true we are moving toward [Golden Indonesia 2045]. We only need to improve our human resources..." Mahfud asserted during his speech reported by ANTARA. He believes enhancing the quality of education, alongside addressing poverty concerns, are fundamental to the nation’s development. The former chief justice of the Constitutional Court also mentioned the importance of implementing strategic policies and mobilizing societies, particularly the youth, to contribute toward this goal. His call for support for Prabowo's initiatives highlights the political backdrop as Indonesia gears up for future advancements.
Simultaneously, the Indonesian political narrative is steeped with tensions around artistic expression, as illustrated by the recent cancellation of renowned artist Yos Suprapto's exhibition at the National Gallery. The exhibition titled 'Kebangkitan: Tanah untuk Kedaulatan Pangan' (Revival: Land for Food Sovereignty) was anticipated to engage viewers with its poignant themes. Instead, five out of the proposed artworks were deemed too explicit or provocative, leading to their removal from the official opening, much to the dismay of the assembled audience.
Yos, known for his daring style and social critiques, expressed disappointment at the censorship, describing his artwork as necessary for reflection and dialogue. One piece depicted the harsh realities of power dynamics, featuring a farmer leading a cow to the palace, symbolizing how the flow of food often favors the powerful.
He remarked, "Food always flows to the center of power..." drawing attention to the often-unseen socio-economic disparities faced by the working class. One of his more controversial paintings, illustrating stark inequalities, depicted high-ranking officials receiving the fruits of labor from farmers, reinforcing the narrative of economic injustice. This work was categorized as "irrelevant" and later stricken from the exhibit by National Gallery curators.
The curatorial decision underscored the tension between art and political rhetoric, as officials have emphasized themes like food sovereignty and equality. The backlash against Yos’ display raises questions about the intentions behind these official narratives and the sincerity of claims surrounding social programs for the common good.
Despite initial agreements to cover certain contentious artworks, the curators opted to exclude them entirely, leading to accusations of censorship aimed at preserving comfort over confronting uncomfortable realities. Such actions beg the question: has art, which traditionally serves as commentary and reflection, become simply ornamental under President Prabowo’s reign?
Artists and critics have openly challenged the government’s approach to culture with statements like, “Art should be free, but it is shackled by fear,” expressing concerns over the chilling effect of censorship on creative expression. This dissonance between lofty political goals and the suppression of cultural voices reflects the paradox of Prabowo’s newly established Ministry of Culture.
Rather than silencing dissenting opinions, observers suggest President Prabowo should privilege cultural dialogues and encourage honest critique through creative expressions, using them as tools to highlight and address national issues such as food sovereignty and poverty. They contend it is through such expressive art forms, like those from Yos Suprapto, where real echelons of societal improvement might be inspired.
Malaysia’s cultural narrative reminds us of the integral role artists play in reflecting and shaping society. Yos’ critiques resonate with past government failures, asserting the responsibility of leadership to embrace art as a conversation starter rather than viewing it as adversarial to state power. Engaging with diverse voices instills hope for potential socio-political growth.
Moving forward, the Indonesian government under President Prabowo faces the challenge of embracing art’s true spirit—encouraging dialogue, fostering creativity, and breaking barriers rather than erecting them. Without this shift, the essence of democracy and public discourse risks being stifled, leading to missed opportunities for genuine connection and change.
