On Being Musically Provocative, and Proactive.

Even after Slank’s controversial lyrics of their song, Gosip Jalanan, have caused a stir amongst the government higher ups [Link], Dewi Persik’s banned stage performance [Link], and Julia Perez’ condom giveaways along with her banned album [Link], Indonesia’s moral-preaching wall of fame is expected to be further vandalized with splatters of political incorrectness here and there. Be it yet another marketing strategy or not, the popular media and its audience would have to be ready for a fresh taste for controversiality in the scene. One that could provide such taste is Pandji Pragiwaksono [Blog]. As a hip-hop rapper also popularly known as a local TV and radio presenter, Pandji has engaged a mission to uplift the pride of the nation, one word, one beat at a time. In his debut album, Pandji raps his way in presenting various social issues in the country such as piracy, social injustice, violence, patriotism, and the media while clutching a handful of nationalistic pride, making him sound like Eminem in comparison to those listed in the local’s Top 10 chart.

Eventhough the way he elaborates on lyrics consisted in his just released album [Link], Provocative Proactive, may have been considered as a critically debatable expression of anti-Americanism for some, however the approach itself will help deliver the future’s societal leaders who use arts and music as their primary role of intervention. In the brighter side of things, his album then would symbolize the generation’s learning process on the perceived concept of governing system, civic responsibility, and cultural prejudice, hereby greatly contributed by Pandji’s own eagerness to learn and constantly evolve. Other local artist(s) promoting social causes is Efek Rumah Kaca [MySpace], a rising Jakarta-based indie band. In light melodic ballad, the band serenades on issues such as the global warming, the assassination of Munir, and the consumeristic lifestyle of urban Indonesia. Educating social issues itself hasn’t been the priority of Indonesia’s popular media and subcultures; moreover, the involvement in social activism is perceived to be mere privilege of the conservative-minded mass, the segment stereotypically depicted as the music-deaf left brain part of the demographic. These musicians’ works thus have been becoming a breakthrough in Indonesia’s Idol-frenzy generation from old and young, but most importantly, the young.

Retrospecting the 1970ies and 1980ies period, Indonesia have acknowledged several musicians, naming Iwan Fals and Koes Plus, as the working class heroes of Indonesia’s rock ‘n roll history; however, the mainstream music scene seen today in Indonesia has been more of scene replays from the local television soap operas (sinetron). The romantical grandeur of on-screen ideals gradually are pushing young Indonesians to the edge of their ennui of creativity, if not pulling them even more and more alienated and withdrawn in their own pseudo-liberal comfort zones. In addition, it is unclear whether both commercial and political institutions in the nation are truly committed in facilitating the true character and aspiration of the younger generation, or merely in indoctrinating and regenerating the political power surge, and predictively, political votes. Conclusively, challenges from both the generation and the system would surely be expected. Concerning that matter, the most praised creation of international artists-as-activists, naming John Lennon, Paul McCartney, U2, Peter Gabriel, and Rage Against The Machine, is actually their own intellectual journey crafted and woven along in each of their works. They’ve ensured arts and music as a dynamic entity, not static, never dogmatic, in such ways that they’ve been inspired by challenges, and not restrained by them.

Arts, music, and literature in general expectedly would provide the missing link between the younger generation and their freedom to access and be involved in causes of humanity. Through the establishments of popular media and culture, the movement presented by Indonesian artists such as Pandji could then liberate the generation in defining their own identity in the society and making the best out of it. At least until another music artist would compose a song on how destructive anti-Americanism – and anti-pluralism? – could be. Now that is provocative.

Lyrics of “Ada Yang Salah” by Pandji featuring Tompi.

ADA YANG SALAH feat. TOMPI
Produced by : E.Sukardi , Keytut for Soulbrothaz Production
Written by : Pandji & Tompi
Backing Vocal by : Tompi

VERSE 1
Orang Indonesia suka bilang rap kami kampungan (kenapa)
Pikir gua sambil kebingungan.
Orang kita cuma ngomong nggak pake nada doang, seblah mananya kok rap bisa dibilang kampungan?
Apa kampungannya pada pesannya ya?
Atau kampung cara berpakaiannya ya?
Atau cara kami presentasikannya?
Yang bikin mreka pandang kami sebelah mata gue curiga, emang yang salah mrekanya. Ketawa. Bilang rap buat ABG doang?
“Umur 28 ga cocok ngerap lagi dong Dji, bapak bapak ya nyanyi Jazz kayak Tompi”
(Somebody called my name?)
Mreka bilang masalahnya di budaya.
“Biar gimana juga rap asli amerika”
HAHA, langsung, srangan balik ala MU, kalo gitu, jins yang lo pake, aslinya dari mana?
Cisitu?

CHORUS (TOMPI)
Ini lagu, bukan lagu rindu.
Ini lagu untuk membuka pikirmu.
Kalau negri ini bukan negri babu.
Ayo anak negri mana karyamu.

VERSE 2
Ada lagi nih…
Masalah surat kabar, atau koran.
Yang merasa berlangganan coba angkat tangan?
Namanya langganan pasti bayarnya diblakang, tapi, buat apa kalau kabar buruk doang ha?
Pembunuhan, Kebakaran, Korupsi, lalu pemerkosaan.
Ga mampu bayar sekolah lalu bunuh diri, atau artis, ketangkap bawa ecstasy, masak sih? Hutan kita tebang cuma buat gini?
Buat apa bayar untuk dapet kabar sedih?
(Eh tapi ini fakta bung)
Tapi faktakan nggak harus begini, coba usik orang orang yang demo di jalan.
Metoda yang sama dipake tahun 60an, coba gue tanya prosentase keberhasilan, dalam metoda kalian turun kejalan, bandingkan dengan keberhasilan kalian bikin macet di jalan?

CHORUS

BRIDGE

Jadi gini, hukum pareto mengatakan, 80% uang negara pasti dihasilkan dan dinikmati oleh hanya 20%. Artinya, yang miskin akan selalu ketinggalan.
Orang bilang, Indonesia kurang banyak orang mampu/
Padahal yang bener, orang yang mampu kurang banyak memberi.
Dan kalau kita beramal ga Cuma staun sekali, bukannya yang seneng juga elo sendiri?

CHORUS

Enjoy the live version of the song here. And as a complimentary to the post – one of John Lennon’s most influential works, “Give Peace A Chance”.

Related articles.
Music and politics
Activism, New Music and a Strong Stomach to Deal With It
Transformations in Modern Dance Club Music
The Artist as Activist
Why Build a Movement Among Youth-Driven Music Spaces?

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