Babanton - Revision history

Juju: /* babanton art */

2022-04-27T13:58:12Z

babanton art

← Older revision		Revision as of 15:58, 27 April 2022
Line 1:		Line 1:
	==babanton art==		==babanton art==
	===the good neighbours agree to always agree===		===the good neighbours agree to always agree===
	<span class="author">Bunga Siagian & Ismal Muntaha		<span class="author">Bunga Siagian & Ismal Muntaha</span>
	~~<br>(Jatiwangi art Factory)~~</span>

	<div class="no-indent">The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''Babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.</div>		<div class="no-indent">The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''Babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.</div>

Juju: /* babanton art */

2022-04-27T08:07:44Z

babanton art

← Older revision		Revision as of 10:07, 27 April 2022
Line 1:		Line 1:
	==babanton art==		==babanton art==
	===the good neighbours agree to always agree===		===the good neighbours agree to always agree===
	<span class="author">Bunga Siagian &~~amp;~~ Ismal Muntaha</span>		<span class="author">Bunga Siagian & Ismal Muntaha
			<br>(Jatiwangi art Factory)</span>

	<div class="no-indent">The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''Babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.</div>		<div class="no-indent">The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''Babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.</div>

Juju: /* babanton art */

2022-04-12T12:03:46Z

babanton art

← Older revision		Revision as of 14:03, 12 April 2022
Line 12:		Line 12:
	Let’s imagine that JaF’s neighbours are also other community members, local governments (at least Arief Yudi’s schoolmates or Ginggi), roof tile factory entrepreneurs, police, and other <mark class="c3">institutions</mark>. Then, automatically, they will be involved in the ''babanton'' arts that manifest in the ever-expanding collective artistic practices, in which <mark class="c6">''tanah''</mark> is exalted within. This interplay between art and ''babanton'' enriches them both; art expands the ''babanton'' practice into not just an individual matter—celebrating a marriage or making a house is being turned into larger collective works. On the other hand, ''babanton'' restores art to an important position in creating the imagination and action of a living space that is good for collective life.		Let’s imagine that JaF’s neighbours are also other community members, local governments (at least Arief Yudi’s schoolmates or Ginggi), roof tile factory entrepreneurs, police, and other <mark class="c3">institutions</mark>. Then, automatically, they will be involved in the ''babanton'' arts that manifest in the ever-expanding collective artistic practices, in which <mark class="c6">''tanah''</mark> is exalted within. This interplay between art and ''babanton'' enriches them both; art expands the ''babanton'' practice into not just an individual matter—celebrating a marriage or making a house is being turned into larger collective works. On the other hand, ''babanton'' restores art to an important position in creating the imagination and action of a living space that is good for collective life.

	<span class="spread">[[File:babanton-slide1.jpg\|thumb]]</span><span class="spread">[[File:1905-babanton-exp.jpg\|thumb]]</span>		<span class="spread">[[File:babanton-slide1.jpg\|thumb]]</span>

			<span class="spread">[[File:1905-babanton-exp.jpg\|thumb]]</span>

Juju: /* the good neighbours agree to always agree */

2022-04-12T11:13:22Z

the good neighbours agree to always agree

← Older revision		Revision as of 13:13, 12 April 2022
Line 6:		Line 6:


	''Babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’. It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as ~~<br>~~a currency, may be exchanged in times of need.		''Babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’. It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as a currency, may be exchanged in times of need.

	JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’		JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’

Juju: /* the good neighbours agree to always agree */

2022-04-12T11:13:06Z

the good neighbours agree to always agree

← Older revision		Revision as of 13:13, 12 April 2022
Line 6:		Line 6:


	''Babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’.		''Babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’. It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as <br>a currency, may be exchanged in times of need.
	~~<br>~~It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as <br>a currency, may be exchanged in times of need.

	JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’		JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’

Juju: /* babanton art */

2022-04-12T09:27:13Z

babanton art

← Older revision		Revision as of 11:27, 12 April 2022
Line 3:		Line 3:
	<span class="author">Bunga Siagian & Ismal Muntaha</span>		<span class="author">Bunga Siagian & Ismal Muntaha</span>

	The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''Babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.		<div class="no-indent">The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''Babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.</div>

Juju: /* babanton art */

2022-04-08T13:19:17Z

babanton art

← Older revision		Revision as of 15:19, 8 April 2022
Line 13:		Line 13:
	Let’s imagine that JaF’s neighbours are also other community members, local governments (at least Arief Yudi’s schoolmates or Ginggi), roof tile factory entrepreneurs, police, and other <mark class="c3">institutions</mark>. Then, automatically, they will be involved in the ''babanton'' arts that manifest in the ever-expanding collective artistic practices, in which <mark class="c6">''tanah''</mark> is exalted within. This interplay between art and ''babanton'' enriches them both; art expands the ''babanton'' practice into not just an individual matter—celebrating a marriage or making a house is being turned into larger collective works. On the other hand, ''babanton'' restores art to an important position in creating the imagination and action of a living space that is good for collective life.		Let’s imagine that JaF’s neighbours are also other community members, local governments (at least Arief Yudi’s schoolmates or Ginggi), roof tile factory entrepreneurs, police, and other <mark class="c3">institutions</mark>. Then, automatically, they will be involved in the ''babanton'' arts that manifest in the ever-expanding collective artistic practices, in which <mark class="c6">''tanah''</mark> is exalted within. This interplay between art and ''babanton'' enriches them both; art expands the ''babanton'' practice into not just an individual matter—celebrating a marriage or making a house is being turned into larger collective works. On the other hand, ''babanton'' restores art to an important position in creating the imagination and action of a living space that is good for collective life.

	<span class="spread">[[File:babanton-slide1.jpg\|thumb~~\|Lorem Ipsum is simply dummy text of the printing and typesetting industry.~~]]</span><span class="spread">[[File:1905-babanton-exp.jpg\|thumb~~\|Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s.~~]]</span>		<span class="spread">[[File:babanton-slide1.jpg\|thumb]]</span><span class="spread">[[File:1905-babanton-exp.jpg\|thumb]]</span>

Juju: /* babanton art */

2022-04-07T10:42:46Z

babanton art

← Older revision		Revision as of 12:42, 7 April 2022
Line 3:		Line 3:
	<span class="author">Bunga Siagian & Ismal Muntaha</span>		<span class="author">Bunga Siagian & Ismal Muntaha</span>

	The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''~~babanton~~'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.		The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''Babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.

	''~~babanton~~'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’.
			''Babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’.
	<br>It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as <br>a currency, may be exchanged in times of need.		<br>It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as <br>a currency, may be exchanged in times of need.

Juju: /* babanton art */

2022-03-23T11:33:56Z

babanton art

← Older revision		Revision as of 13:33, 23 March 2022
Line 6:		Line 6:

	''babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’.		''babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’.
	<br>It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as a currency, may be exchanged in times of need.		<br>It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as <br>a currency, may be exchanged in times of need.

	JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’		JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’

Juju: /* babanton art */

2022-03-22T16:12:47Z

babanton art

← Older revision		Revision as of 18:12, 22 March 2022
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	The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.		The word ''saling bantu'' (mutual assistance) is meant to separate it from the terminology ‘collaboration’, ‘participation’, ‘involvement’, ‘cooperation’, words that are widely used to explain community-based art practices. Not only do those words arise from a different context in the art scene, but in the context of language they are also not sufficient to explain the situation of Jatiwangi, as the rural centre of Indonesian clay production. ''Saling bantu'' is the Indonesian translation for the Sundanese ''babanton'', which unfortunately does not capture its precise meaning, nor does the English translation ‘helping each other’ (translator’s note: ‘mutual assistance’ or ‘mutual aid’ may be more appropriate terms, although they still may not capture the full extent of the meaning). ''babanton'' is distinct from the words collaboration, joint work, ''gotong royong'' (the well-known ethos in Indonesia regarding collective work), and other similar words that presuppose as well as rely on goodwill, willingness, agreement, and the need to do something together. However, it has its limitations: it applies to collective needs (not personal needs, therefore it is often institutionalized by the state). It is spontaneous and current (of urgent needs, such as clearing clogged sewers, and so on), and cannot be romanticized as an ever-present value in a community.

	''babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’. It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as a currency, may be exchanged in times of need.		''babanton'' is a game. It is crucial to understand the gameplay. First, from its terminology: in Sundanese, ‘help’ (''Indonesian: bantu'') is translated as ‘banton’, but the word ''babanton'' contains a repetition of ‘banton’.
			<br>It means the help is reciprocated, like in a game. ''babanton'' is a societal value in Jatiwangi. As a game, it starts from individual needs. In neighbourhood social practices, as a good neighbour, it is a social obligation to help a fellow neighbour who is having ''hajat'' (event, ceremony, errands). Therefore, we need to sacrifice our ‘time’, even if it’s work time. It subsequently establishes a social ‘currency’ that uplifts our dignity as people living in a community. A help from our neighbour, as a currency, may be exchanged in times of need.

	JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’		JaF artistic practices engage with the spirit of the community’s ''babanton''. In the early days of JaF, many initiations or art projects were nothing but but ''hajatan'' presented by JaF that were held by Arief Yudi’s family—a distinguished family in the village (his brother Ginggi was the Village Head at the time). The neighbours acted as good neighbours to do ''babanton'' in the artistic activities, whether they understood them or not, needed them or not. What they knew was that the neighbour was having a ''hajat'' and was in need of help. Afterwards, automatically, JaF would also be involved in this mutual assistance game by being a good neighbour, from providing a sound system and a stage on a neighbours’ ''hajat'', designing logos for neighbours’ products, making or editing videos, documenting pre-wedding photos, to merely fixing printers. One time, Ginggi blurted, ‘Any talk of art in society without ever helping a neighbour’s ''hajat'' or attending a neighbour’s funeral is utter baloney''.''’