About Greed: Boars and Dwarf Men

The following article was translated using both Microsoft Azure Open AI and Google Translation AI. The original article can be found in Ihwal Keserakahan: Celeng dan Manusia Kerdil

KOMPAS/HERYUNANTO

Illustration

“In the fluid modern world, often the biggest political problem is the inadequacy of the tools we have to combat chaos.” Note: There are no forbidden words in this article.

Zygmunt Bauman (1925 – 2017)

In many countries, especially where the political system has not yet become entrenched, towards the end of a regime in power, the color of upheaval often becomes the main color.

For Zygmunt Bauman (1925-2017), a Polish sociologist who lived through three eras of world civilization - the Holocaust (1941-1945), postmodernism (1990s), and the present day - these upheavals are a continuation, not a "replacement", of the characteristics of previous times.

What is different is the speed. Bauman calls all these upheavals liquid modernity, where life becomes like a liquid, easy to shape, but at the same time it is also difficult to maintain that shape (Bauman, 2000).

One of the burdens of a society experiencing liquid modernity is the decline of the idea of ​​democracy. The process of globalization (which is negative) has weakened the rights and identity of minorities; power is spread throughout, no longer "localized" in one place.

Solutions to conditions of uncertainty, loneliness, and fear about the future of society, are no longer found in institutions. “The community is no longer protected by the state; alone, they are faced with greed forces, which they cannot control” (Bauman, 2006).

In such a modern world, the public does not have sufficient tools to combat chaos, which in the context of this article is "greed" or "avarice". People can only react passively to the "liquidity of the world" (read: "the liquefaction of values"), without being able to act independently. That is what makes humanity uncertain.

In a cross-historical interpretation,liquid modernitywill also produce "small humans" (see Moh Hatta, Our Democracy, 1960).

The behavior of the pig is scary and destructive, making it a symbol of greed and avarice.

The phenomenon of greed and shrinking humanity has become more prominent in the lead-up to the 2024 elections. Society has become like a fluid, where the color of uncertainty - even uncertainty that can paralyze and hinder progress - only grows stronger.

Djoko Pekik's Cèlèng

Paul Ricoeur said, taking distance or distantiation is a condition for knowing and understanding more deeply (Ricœur, 1991). When people distance themselves from something, both spatially and emotionally, they can see the bigger picture.

With the soul of an artist, within a period of three years (1996-1999), Djoko Pekik (1939-2023), a visual artist from Yogyakarta, made three paintings with the theme of cèlèng or wild boar: Susu Raja Wild Boars (1996), Indonesia 1998: Hunting Wild Boars (1998), and Without Flowers and Telegrams of Condolence: Year 2000 (1999).

Although according to Djoko Pekik he was only depicting the event of people hunting cèlèng (wild boar) around his hometown in Purwodadi, Central Java, considering the years when the artworks were created, everyone knows who is meant by cèlèng in his three paintings.

Translation: The Painting of the "Susu Raja Celeng" (1996), with the main subject of a giant celeng with a bulging and chubby belly, and six nipples that have been sucked dry by its offspring, who still appear to be not satisfied. Meanwhile, across the scene, thousands of people - a symbol of the people - are crowded.

It appears that they are trying to catch the wild boar. However, there is a wide gap between them that prevents the boar from being caught.

KOMPAS/ALOYSIUS BUDI KURNIAWAN (ABK)

The statue of painter Djoko Pekik, sculpted by Dunadi, has been placed in the courtyard of Yakopan Park, located in the Omah Petroek area of Pakem, Sleman, DI Yogyakarta, on Monday (29/5/2023). The statue stands next to the "Celeng Hunting" statue by Pramono.

The painting, created during the political turmoil of 1996 and followed by the bloody attack on the headquarters of the Indonesian Democratic Party on July 27, 1996, aims to depict "a greedy ruler" who wants to maintain his power as strong as possible without the people being able to do anything about it (Sindhunata, 2000).

In the second painting, Indonesia 1998: Hunting Wild Boar (1998), within the context of Indonesia in 1998, Djoko Pekik "ends the story" of the greedy wild boar who has amassed wealth through corruption and dirty political practices. There are two interesting things about this painting. It is painted in a format that is much wider than the first painting: 300 x 500 centimeters (cm) compared to 180 x 150 cm.

Perhaps, this is a psychological description of Djoko Pekik, who felt marem (Javanese: satisfied), because he could express his anger at the New Order regime, which not only had ruled arbitrarily, but had also made misery for him and stigmatizing himself as a “former political prisoner” (Florida, 2008).

Then, the background of this painting remains dark. It seems that Djoko Pekik still feels uncertain about the future, even more gloomy, after the "death" of the pig. Without intending to predict, the pig is made into an icon, which can help us expose the wounds of the New Order's crimes (corruption, collusion, nepotism) and their descendants who still loom over Indonesian society until today (Sindhunata, 2000).

The third painting, Without Flowers and Telegrams of Condolences: Year 2000 (1999), is a representation of the end of a greedy ruler's life. The giant pig rotted and became food for crows and flies. Its carcass lay in a remote and mountainous area, far from people. There was no one to pay respects or offer flowers and condolences. The end of a cruel and greedy leader should be like this: forgotten by people.

Through three paintings depicting the piggy bank, Djoko Pekik aims to share his dark experiences during the 1990s decade. This is a sort of "exorcism" attempt, a ritual to expel evil spirits from human body (Florida, 2008).

The spread of evil such as greed is expressed by Javanese tradition as a curse: Lengji lengbeh, boar siji boar kabeh, meaning, "one becomes a 'boar', all become boars."

The wild boar is still there

The "celeng-celeng" of Djoko Pekik still exists. Among the farming community, the omnivorous animal which often becomes a destroyer of fields and paddies and a great enemy of farmers is also believed to be a manifestation of the power of the devil. There is a myth about the "ilmu babi ngepet", a type of black magic that can make a person rich by taking the wealth of others without them knowing.

It is said that in the village where Djoko Pekik was born, fake boars—called gontheng boars—like to come to people who have celebrations because there is a lot of money donated by the invitees. The suckling pig can suck up all the donated money and goods to enrich himself and his family.

Therefore, those who want to become endlessly wealthy without working hard attempt to possess knowledge of pesugihan.

Conditions dictate that one must ally themselves with demons and evil forces. By practicing the ritual of "babing ngepet," one can transform themselves into a monstrous pig (Sindhunata, 2000). Such behavior, characterized by fear and destruction, has made the pig a symbol of greed and avarice.

Spirit of greed

One of the interesting sides of Indonesia's history is that there was a time when it was ruled by only one person for 32 years.

However, in the following period, which is called the "transitional period" throughout 25 years, there were five individuals with different lengths of tenure. One of the results of the Reform is the limitation of the presidential term to two periods. As of now, there are two people who have served two consecutive periods, namely President Susilo Bambang Yudhoyono (2004-2014) and President Joko Widodo (2014-2024).

What is interesting is that almost every transition is always accompanied by various upheavals, whether due to nepotism efforts, legislation arrangements, state budget embezzlement, and many other "peculiarities" that are disguised or obvious, all of which are the result of greed.

The Latin proverb says, Radix enim omnium malorum est cupiditas (For, the root of all evil is greed)! Greed is the desire to have more and more material things (possessions) and non-material things (power).

In fact, greed is an impersonal force that destroys the order of human life (Mahamboro, 2013). In theological language, this power is referred to as "the evil one" (English: evil), "the devil" (Greek: diabolos), or "satan" (Greek: satanas), which most people imagine as creatures that can communicate with humans, and tempt them to do bad things.

However, in reality, demons or devils imagined in such a way are more of a personification of "the evil one" or "evil forces."

Initially, greed arises from individual action. However, due to the social nature of humans, greed is channeled into various forms of relationships between humans, eventually coloring the social structure. This pattern makes greed a transpersonal force, which distorts the social world and culture of society.

The article states that greed has resulted in social and cultural crimes, such as colonization, injustice, and abuse of power (including nepotism). The desire for power is only a means to fulfill greed.

Translation: Truly, greed is an impersonal force that destroys the order of human society.

Greed spreads everywhere, from the lowest level to the highest level. In public spaces, for example, people are no longer ashamed to display their entire family as members of the legislative, executive, or judiciary branches of government.

The spread of evil such as greed is expressed by Javanese tradition as a curse: "lengji lengbeh, boar siji boar kabeh", meaning, 'one becomes a 'boar', all become boars'. That is the spirit of greed. People say that greed is indiscriminate. It turns out he can also possess people who initially appear pious and good.

Referring to Bauman's concept of liquid modernity, people who are no longer protected by the state (especially in the areas of values ​​and law) must face greed alone as a force they cannot control. That is the situation in our society today!

"Dwarf"

Through the boar painting trilogy, Djoko Pekik tries to dissect the 'boar spirit' that haunts the rulers. There were no people to mourn or lay flowers or offer condolences at the end of the history of this cruel and greedy leader. He was forgotten by people, never given a 'slameti', which in Javanese tradition, is a curse!

Maybe we can easily find examples of greed or avarice in people involved in corruption cases. Generally, they are not people who do not have money. On the contrary, because they already have a lot of money, they want to accumulate even more wealth.

Desire and thirst drive them to commit criminal acts, sometimes even daring to engage in violence and murder.

The greed spread by the wild boar spirit might be said to be public vice. This is not a matter of one or two people who have the bad character or habit of being greedy.

The spread of the spirit of greed also damages the following generations. In Indonesia, for example, there was a report in 2020 that showed a growing number of corruption cases committed by private parties (meaning, together with public officials), and by those who are still young (meaning, 'recently employed').

The antidote to public wickedness is public virtue, which is actually the main spirit of our republic. "However, we have already become historical witnesses that the spirit of the Republic has faded and been lost in the power of small-minded humans," wrote Sukidi in the daily Kompas (2/11/2023).

He quoted the concern of Mohammad Hatta (1902-1980), the founder and proclaimer of the Republic, who wrote, "A great era has been born by the century, but that great era found small-minded people." (Moh Hatta, 1960).

Hatta, who quoted these words from the German poet, Johann Christoph Friedrich von Schiller (1759-1805), felt the truth, when in the 1950-1955 era, on the one hand, he saw the development of Indonesia's development, and on the other hand he also saw the emergence of practical-minded politicians, who like to politicize (Dutch: verpolitiseering) in various areas of social life (Feith, 2007).

No one paid their respects or scattered flowers, nor gave condolences at the end of the story of the cruel and greedy leader.

"Small humans" refer to people who enter the democratic system of a republic, but they do not know what the essence of "republic" is, which means 'public interest' (res publica), not the interests of a group person or group, especially family.

The opposite of a dwarf human is a mainstream human, a big-hearted human, a noble human, a dignified human.

Where can we find these noble human beings in the span of Indonesian history? Will we be able to regain our ability to act, to choose rationally, and without fear of the direction we should take in the 2024 elections, because, as the Spanish poet Antonio Machado (1875-1939) wrote, "< i>caminante no hay camino, camino se hace al andar” (O pedestrian, there is no road; the road must be made by walking.).

Also read: Queen Adil's Message

Also read: The Collapse of the Public Man

D Bismoko Mahamboro,Lecturer in Moral Theology, Sanata Dharma University, Yogyakarta; S-3 Leopold-Franzen-Universität, Innsbruck, Austria

D BISMOKO MAHAMBORO

D Bismoko Mahamboro