TRAUMARAMA
By Ariel Orah
“TRAUMARAMA” is a research framework as part of the artistic development of a new Lecture-Performance concept by Ariel Orah. The project focuses on tracing a multidirectional social trauma connection between holocaust history in Germany and genocide history in Indonesia.
Background
The project is inspired by the curiosity of speculating multidirectional social trauma phenomena of present societies in both countries. What happens when different histories confront each other in the public sphere? Does the remembrance of one history erase other from view? When memories of slavery and colonialism bump against memories of the Holocaust in contemporary multicultural societies, must a competition of victim ensue?
This research project and those questions is heavily influenced by the recent incident that happened in Documenta Fifteen (2022) when a painting piece from Indonesian collective Taring Padi was dismantled from the exhibition with the accusation of antisemitism. No-one (including me) thinks the image in the painting is defensible, including even Taring Padi itself, which issued an apology and disavowed antisemitic intentions. The main figure in the painting that is thought to be antisemitic: a uniformed pig representing the state of Israel, indicated by “Mossad” on its helmet. The collective said that the banner was born out of their struggles of living under Suharto's military dictatorship, where violence, exploitation and censorship were a daily reality. Like all of their artwork, the banner attempts to expose the complex power relationships that are at play behind these injustices and the erasure of public memory surrounding the Indonesian genocide in 1965, where more than 500,000 people were murdered.
The Holocaust in Germany, which occurred during World War II, was the systematic extermination of approximately six million Jews by the Nazi regime. The Communist genocide in Indonesia, which occurred primarily in 1965-66, was the mass killing of an estimated 500,000 to 1 million people, primarily ethnic Chinese and alleged communists by the Indonesian government and military.
The two events were acts of mass extermination and genocide committed by governments against specific groups of people. Both Holocaust and Communist genocide in Indonesia were motivated by ideologies that dehumanized the victims and led to the justification of their extermination.
For the naked eye, the Holocaust and the Communist genocide in Indonesia were seems like two distinct and separate events that occurred in different countries and under different circumstances. However, the fact that they were both acts of mass extermination and genocide is a reminder of the devastating consequences that can result when extremist ideologies are allowed to gain power and influence.
As an Indonesian diaspora who has been working, living (for the past 12 years, and having family with a German partner, I felt this incident was really tragic and gave me motivation to proceed this artistic research and hopefully realized it into a performance piece.
This research project is my continuation and consistency of conducting research on social trauma, transnational/alternative history and performing art. Recent research includes “Transtrauma FM” : focus on tracing common intergenerational collective and social trauma in South East Asia and Baltic States (supported by Fonds Darstellende Künste e.V), “Leftrauma” : focus collective trauma on present societies from anti-communist mass killing campaign during Cold War that happened in several global south counties including Indonesian mass killing in 1965-1966 (supported by Fonds Darstellende Künste e.V). Previous research which has turned into performative artistic output includes “GAUNG – UNVORHERBESTIMMTE RESONANZ “ - Lecture Performance about Encounter of National Identity Stereotype (premiered in Ballhaus Naunynstrasse) and “Aryati”, an experimental theater piece about the transformation of Keroncong music against the backdrop of Indonesian history. The work depicts the decolonization process of keroncong music from 1920 to 1990, from a colonial product to a claimed indigenous cultural heritage, supported by Haupstadtkulturfonds.
Project structure
The project aims to answer the main research question: “How to turn a multidirectional social trauma connection between holocaust history in Germany and genocide history in Indonesia into an object of discourse within a performance?”
The project framework will be divided into three major parts, each project part will be implemented in a one month time span, so the total of the project will be three months.
Part 1 : Contextualisation Phase
The objective of this part is to define : area of research, field of problematicity (a ground where problems, doubts, questions, ideas, hypotheses, analytical and creative solutions, become later analytic-able).. Within this space, sub questions are structured and formulated. The methods on this part will be pursued by collecting quantitative data and materials through literature references, interviews, and focus group discussion. Literature examples include “Multidirectional Memory” by Michael Rothberg.
Part 2 : Analytical Phase
The objective of this part is to analyze various epistemic objects from part one and investigate the relation and potential narrative with the main research question on “How to turn a multidirectional social trauma connection between holocaust history in Germany and genocide history in Indonesia into an object of discourse within a performance?”
Part 3 : Formation Phase
The objective of this part is to have a performance framework plan which is later will take into production phase. The method will be sense-making those analytical results and situated in a landscape and planning what to do with such objects. This is the phase that enables the formation of discourse objects of collective trauma with performing art elements and epistemics components.
the contextualization phase
The project began with the contextualization phase, the book Multidirectional Memory was the main literature that was being investigated for this research phase. It challenges the way I think about memory and historical traumas. So, the main idea here is that memory is not just a single, isolated narrative of suffering. Instead, Rothberg proposes this concept of 'multidirectional memory,' where memories of different historical events, like the Holocaust and colonialism, actually intersect and influence one another. It's pretty mind-blowing because it shows how different groups' experiences of suffering and survival can have unexpected connections and similarities. The book explores how memories of the Holocaust intertwine with memories of other injustices, like slavery, apartheid, and colonization. It's not about comparing these tragedies or saying one is worse than the other; it's more about acknowledging the shared humanity and struggles across diverse communities.
Rothberg uses various cultural forms, like literature, films, art, and memorials, to illustrate how multidirectional memory is represented and constructed. These expressions challenge dominant narratives and create space for empathy and understanding between different groups.it's really eye-opening to see how these memories can lead to unexpected relationships and alliances, fostering solidarity between communities who've been through different forms of suffering. It encourages a broader understanding of history and a more inclusive approach to memory studies.
In May 2023, the contextualization phase advanced further with field research in the captivating city of Manado, Indonesia. Renowned for its reputation as the most tolerant city in Indonesia, it boasts a unique distinction as the last haven for the Jewish community within the country. Interestingly, Manado houses the sole remaining Synagogue in Indonesia, signifying its historical significance and cultural richness. The city has recently added another layer to its heritage by establishing a Holocaust Museum in 2022, serving as a poignant reminder of historical events and promoting awareness. For me personally, Manado holds a profound connection, as it is the place where my ancestors from my father's family originated, adding a deeply sentimental dimension to this research journey.
During my research expedition in Manado, my primary focus revolved around immersing myself in the rich history of the city by visiting the esteemed Synagogue and the newly established Holocaust Museum. These visits provided profound insights into the Jewish community's heritage and their enduring presence in this unique Indonesian city.
Moreover, I embarked on a series of enlightening interviews with local residents belonging to various religions, delving into their perspectives on Israel-related issues and the Holocaust, seeking to understand their knowledge, connections, and interpretations of these significant historical events. In the process, I also sought to investigate how these individuals' memories and perceptions intertwined with their recollections of the 1965 communist massacre in Indonesia, uncovering valuable perspectives on the nation's complex history.
One intriguing aspect that emerged from these interviews was the enigma behind Manado's exceptional reputation as a tolerant city, which stood in contrast to the prevailing national stereotype associated with Indonesia's predominant Muslim population. Through in-depth discussions with the locals, I attempted to discern the factors contributing to this exceptional harmony and understanding among diverse religious groups within the city's boundaries.
Interestingly, during my stay, a curious incident unfolded – a new protest erupted against the scheduled visit of the Israeli national football team to Indonesia. This unforeseen event added another layer of complexity to my research, as I observed how the protest played out and ultimately led to the cancellation of the Israeli team's arrival and the subsequent cancellation of the entire championship. This unexpected turn of events offered an opportunity to examine the dynamics of international relations and how it intersects with local sentiments and opinions within Manado.
Overall, my journey in Manado proved to be an unforgettable and eye-opening experience, providing me with a deeper appreciation for the city's cultural diversity and its capacity for fostering tolerance amidst a complex tapestry of historical and contemporary narratives.
Upon returning to Berlin, I continued my research process by engaging with the local Indonesian and Israeli diaspora residing in the city. Their unique perspectives and experiences provided valuable insights into how the themes of tolerance, Jewish heritage, and the Holocaust were perceived within the diasporic communities and how these issues intersected with their identities and cultural ties.
In addition to the diaspora interviews, I also sought the input of my German colleagues who had a relevant context or expertise in this research theme. Their diverse backgrounds and knowledge enriched my understanding of how these topics were viewed from an outsider's perspective, shedding light on how global events and historical narratives resonated with different communities in Berlin.
Furthermore, I conducted intensive desktop research, delving into how media outlets covered the documenta scandal involving the controversial "taring padi'' painting. The painting's alleged antisemitic symbolism sparked considerable debate, and examining media reports provided valuable context on how sensitive historical issues were portrayed and discussed in public discourse.
The combination of these interviews and in-depth research added depth and nuance to my exploration of the intertwined themes of tolerance, Jewish heritage, the Holocaust, and their relevance in different cultural and social contexts. The findings from these research phases, both in Manado and Berlin, enabled me to gain a more comprehensive understanding of how historical events and contemporary issues shaped perceptions, narratives, and reactions among diverse communities, ultimately contributing to a more holistic and insightful analysis of the overarching research theme.
Part 2 : Analytical Phase
Formation phase
Main interest from the research that i would like to incorporate in performance structure and strategy:
By delving into these various facets, I aim to gain a more comprehensive and nuanced understanding of how intergenerational guilt, shame, and trauma are interwoven with performance structures, strategies, and societal dynamics in both Indonesia and Germany. Through this exploration, I hope to shed light on opportunities for healing, reconciliation, and a more inclusive perspective on history in both nations.
Potential strategy to incorporate them into performance :>
By Ariel Orah
“TRAUMARAMA” is a research framework as part of the artistic development of a new Lecture-Performance concept by Ariel Orah. The project focuses on tracing a multidirectional social trauma connection between holocaust history in Germany and genocide history in Indonesia.
Background
The project is inspired by the curiosity of speculating multidirectional social trauma phenomena of present societies in both countries. What happens when different histories confront each other in the public sphere? Does the remembrance of one history erase other from view? When memories of slavery and colonialism bump against memories of the Holocaust in contemporary multicultural societies, must a competition of victim ensue?
This research project and those questions is heavily influenced by the recent incident that happened in Documenta Fifteen (2022) when a painting piece from Indonesian collective Taring Padi was dismantled from the exhibition with the accusation of antisemitism. No-one (including me) thinks the image in the painting is defensible, including even Taring Padi itself, which issued an apology and disavowed antisemitic intentions. The main figure in the painting that is thought to be antisemitic: a uniformed pig representing the state of Israel, indicated by “Mossad” on its helmet. The collective said that the banner was born out of their struggles of living under Suharto's military dictatorship, where violence, exploitation and censorship were a daily reality. Like all of their artwork, the banner attempts to expose the complex power relationships that are at play behind these injustices and the erasure of public memory surrounding the Indonesian genocide in 1965, where more than 500,000 people were murdered.
The Holocaust in Germany, which occurred during World War II, was the systematic extermination of approximately six million Jews by the Nazi regime. The Communist genocide in Indonesia, which occurred primarily in 1965-66, was the mass killing of an estimated 500,000 to 1 million people, primarily ethnic Chinese and alleged communists by the Indonesian government and military.
The two events were acts of mass extermination and genocide committed by governments against specific groups of people. Both Holocaust and Communist genocide in Indonesia were motivated by ideologies that dehumanized the victims and led to the justification of their extermination.
For the naked eye, the Holocaust and the Communist genocide in Indonesia were seems like two distinct and separate events that occurred in different countries and under different circumstances. However, the fact that they were both acts of mass extermination and genocide is a reminder of the devastating consequences that can result when extremist ideologies are allowed to gain power and influence.
As an Indonesian diaspora who has been working, living (for the past 12 years, and having family with a German partner, I felt this incident was really tragic and gave me motivation to proceed this artistic research and hopefully realized it into a performance piece.
This research project is my continuation and consistency of conducting research on social trauma, transnational/alternative history and performing art. Recent research includes “Transtrauma FM” : focus on tracing common intergenerational collective and social trauma in South East Asia and Baltic States (supported by Fonds Darstellende Künste e.V), “Leftrauma” : focus collective trauma on present societies from anti-communist mass killing campaign during Cold War that happened in several global south counties including Indonesian mass killing in 1965-1966 (supported by Fonds Darstellende Künste e.V). Previous research which has turned into performative artistic output includes “GAUNG – UNVORHERBESTIMMTE RESONANZ “ - Lecture Performance about Encounter of National Identity Stereotype (premiered in Ballhaus Naunynstrasse) and “Aryati”, an experimental theater piece about the transformation of Keroncong music against the backdrop of Indonesian history. The work depicts the decolonization process of keroncong music from 1920 to 1990, from a colonial product to a claimed indigenous cultural heritage, supported by Haupstadtkulturfonds.
Project structure
The project aims to answer the main research question: “How to turn a multidirectional social trauma connection between holocaust history in Germany and genocide history in Indonesia into an object of discourse within a performance?”
The project framework will be divided into three major parts, each project part will be implemented in a one month time span, so the total of the project will be three months.
Part 1 : Contextualisation Phase
The objective of this part is to define : area of research, field of problematicity (a ground where problems, doubts, questions, ideas, hypotheses, analytical and creative solutions, become later analytic-able).. Within this space, sub questions are structured and formulated. The methods on this part will be pursued by collecting quantitative data and materials through literature references, interviews, and focus group discussion. Literature examples include “Multidirectional Memory” by Michael Rothberg.
Part 2 : Analytical Phase
The objective of this part is to analyze various epistemic objects from part one and investigate the relation and potential narrative with the main research question on “How to turn a multidirectional social trauma connection between holocaust history in Germany and genocide history in Indonesia into an object of discourse within a performance?”
Part 3 : Formation Phase
The objective of this part is to have a performance framework plan which is later will take into production phase. The method will be sense-making those analytical results and situated in a landscape and planning what to do with such objects. This is the phase that enables the formation of discourse objects of collective trauma with performing art elements and epistemics components.
the contextualization phase
The project began with the contextualization phase, the book Multidirectional Memory was the main literature that was being investigated for this research phase. It challenges the way I think about memory and historical traumas. So, the main idea here is that memory is not just a single, isolated narrative of suffering. Instead, Rothberg proposes this concept of 'multidirectional memory,' where memories of different historical events, like the Holocaust and colonialism, actually intersect and influence one another. It's pretty mind-blowing because it shows how different groups' experiences of suffering and survival can have unexpected connections and similarities. The book explores how memories of the Holocaust intertwine with memories of other injustices, like slavery, apartheid, and colonization. It's not about comparing these tragedies or saying one is worse than the other; it's more about acknowledging the shared humanity and struggles across diverse communities.
Rothberg uses various cultural forms, like literature, films, art, and memorials, to illustrate how multidirectional memory is represented and constructed. These expressions challenge dominant narratives and create space for empathy and understanding between different groups.it's really eye-opening to see how these memories can lead to unexpected relationships and alliances, fostering solidarity between communities who've been through different forms of suffering. It encourages a broader understanding of history and a more inclusive approach to memory studies.
In May 2023, the contextualization phase advanced further with field research in the captivating city of Manado, Indonesia. Renowned for its reputation as the most tolerant city in Indonesia, it boasts a unique distinction as the last haven for the Jewish community within the country. Interestingly, Manado houses the sole remaining Synagogue in Indonesia, signifying its historical significance and cultural richness. The city has recently added another layer to its heritage by establishing a Holocaust Museum in 2022, serving as a poignant reminder of historical events and promoting awareness. For me personally, Manado holds a profound connection, as it is the place where my ancestors from my father's family originated, adding a deeply sentimental dimension to this research journey.
During my research expedition in Manado, my primary focus revolved around immersing myself in the rich history of the city by visiting the esteemed Synagogue and the newly established Holocaust Museum. These visits provided profound insights into the Jewish community's heritage and their enduring presence in this unique Indonesian city.
Moreover, I embarked on a series of enlightening interviews with local residents belonging to various religions, delving into their perspectives on Israel-related issues and the Holocaust, seeking to understand their knowledge, connections, and interpretations of these significant historical events. In the process, I also sought to investigate how these individuals' memories and perceptions intertwined with their recollections of the 1965 communist massacre in Indonesia, uncovering valuable perspectives on the nation's complex history.
One intriguing aspect that emerged from these interviews was the enigma behind Manado's exceptional reputation as a tolerant city, which stood in contrast to the prevailing national stereotype associated with Indonesia's predominant Muslim population. Through in-depth discussions with the locals, I attempted to discern the factors contributing to this exceptional harmony and understanding among diverse religious groups within the city's boundaries.
Interestingly, during my stay, a curious incident unfolded – a new protest erupted against the scheduled visit of the Israeli national football team to Indonesia. This unforeseen event added another layer of complexity to my research, as I observed how the protest played out and ultimately led to the cancellation of the Israeli team's arrival and the subsequent cancellation of the entire championship. This unexpected turn of events offered an opportunity to examine the dynamics of international relations and how it intersects with local sentiments and opinions within Manado.
Overall, my journey in Manado proved to be an unforgettable and eye-opening experience, providing me with a deeper appreciation for the city's cultural diversity and its capacity for fostering tolerance amidst a complex tapestry of historical and contemporary narratives.
Upon returning to Berlin, I continued my research process by engaging with the local Indonesian and Israeli diaspora residing in the city. Their unique perspectives and experiences provided valuable insights into how the themes of tolerance, Jewish heritage, and the Holocaust were perceived within the diasporic communities and how these issues intersected with their identities and cultural ties.
In addition to the diaspora interviews, I also sought the input of my German colleagues who had a relevant context or expertise in this research theme. Their diverse backgrounds and knowledge enriched my understanding of how these topics were viewed from an outsider's perspective, shedding light on how global events and historical narratives resonated with different communities in Berlin.
Furthermore, I conducted intensive desktop research, delving into how media outlets covered the documenta scandal involving the controversial "taring padi'' painting. The painting's alleged antisemitic symbolism sparked considerable debate, and examining media reports provided valuable context on how sensitive historical issues were portrayed and discussed in public discourse.
The combination of these interviews and in-depth research added depth and nuance to my exploration of the intertwined themes of tolerance, Jewish heritage, the Holocaust, and their relevance in different cultural and social contexts. The findings from these research phases, both in Manado and Berlin, enabled me to gain a more comprehensive understanding of how historical events and contemporary issues shaped perceptions, narratives, and reactions among diverse communities, ultimately contributing to a more holistic and insightful analysis of the overarching research theme.
Part 2 : Analytical Phase
- Concept of Multidirectional Memory: The research provides a thorough exploration and understanding of the concept of "multidirectional memory" as proposed by Rothberg. It highlights how memories of different historical events intersect and influence each other, fostering unexpected connections and similarities between diverse communities' experiences of suffering and survival. This output can contribute to the field of memory studies by challenging conventional understandings of historical traumas as isolated narratives.
- Perspectives of Diasporic Communities: The insights gathered from the local Indonesian and Israeli diaspora residing in Berlin contribute to a nuanced understanding of how themes of tolerance, Jewish heritage, and the Holocaust are perceived within these communities and how they intersect with their identities and cultural ties.
- Sensitivity to Historical Issues in Public Discourse: The analysis of media coverage surrounding the "taring padi'' painting, which allegedly had antisemitic symbolism, provides valuable context on how sensitive historical issues are portrayed and discussed in public discourse. This output emphasizes the importance of responsible and informed dialogue around historical traumas.
- Holistic Analysis of Historical Events and Contemporary Issues: By combining research from both Manado and Berlin, the research provides a comprehensive analysis of how historical events and contemporary issues shape perceptions, narratives, and reactions among diverse communities. This output fosters a deeper understanding of the complexities of memory and history in different cultural and social contexts.
Formation phase
Main interest from the research that i would like to incorporate in performance structure and strategy:
- My main interest from the research lies in exploring how intergenerational guilt and shame are manifested in both Indonesia and Germany concerning the historical issues of antisemitism and communist massacre. These deeply-rooted emotions have shaped the performance structure and strategy in each nation, influencing how they address and cope with the traumas of the past.
- In both countries, I also find the presence of a "smoke and mirrors" phenomenon, which deliberately creates an illusion of action or truth regarding the traumatic events, when in reality, little substantive change may occur. This phenomenon serves to obscure the true depth of the issues at hand, potentially hindering progress and healing.
- Additionally, I am intrigued by the pervasive "kacamata kuda" (narrow glasses) phenomenon in both societies, which limits people's perspectives and perpetuates a narrow view of history and its complexities. This phenomenon can obstruct a comprehensive understanding of the historical events, hindering opportunities for meaningful reconciliation and growth.
- The role of religion also captures my attention, particularly the influence of Christian conservatism in Germany and conservative Islam in Indonesia on these themes. The interplay between religious beliefs and historical narratives can significantly shape the way these traumas are perceived and approached within their respective societies.
- Furthermore, I am keen to investigate the media's role in both countries, especially in regard to how themes related to antisemitism and communism are portrayed and potentially exaggerated. The media's influence can significantly impact public perceptions and attitudes, thus warranting a closer examination of its contribution to the broader understanding of historical traumas.
By delving into these various facets, I aim to gain a more comprehensive and nuanced understanding of how intergenerational guilt, shame, and trauma are interwoven with performance structures, strategies, and societal dynamics in both Indonesia and Germany. Through this exploration, I hope to shed light on opportunities for healing, reconciliation, and a more inclusive perspective on history in both nations.
Potential strategy to incorporate them into performance :>
- In the performance, we aim to artfully incorporate the elements of intergenerational guilt and shame, reflecting how they have profoundly influenced the collective consciousness of both Indonesia and Germany. Through compelling storytelling, visual symbolism, and emotive performances, we will portray the weight of history and how it continues to shape attitudes towards the historical traumas of antisemitism and communist massacre.
- To address the "smoke and mirrors" phenomenon, we will skillfully use theatrical techniques to unveil the illusion of progress and highlight the need for genuine action and reconciliation. By juxtaposing scenes of apparent change with recurring unresolved themes, the performance will challenge the audience to confront the persistent consequences of past traumas.
- The "kacamata kuda" phenomenon will be vividly depicted through innovative stage design and lighting, creating visual metaphors of narrow perspectives. By deliberately distorting the audience's view at times, we will underscore the importance of seeking a broader understanding of history and resisting the perpetuation of limited narratives.
- The role of religion will be subtly explored through character dynamics and dialogues, illustrating how conservative beliefs impact perceptions of historical events. Through nuanced portrayals, we hope to foster empathy and understanding while encouraging introspection about the potential implications of religious ideologies on society's approach to healing.
- Furthermore, media influence will be skillfully woven into the performance to demonstrate its power in shaping public perceptions. By incorporating multimedia elements and simulated news coverage, we will draw attention to the media's role in amplifying themes related to antisemitism and communism. This will prompt the audience to critically examine the information they consume and its impact on collective memory.
- Ultimately, the performance aims to engage the audience emotionally and intellectually, inviting them to reflect on the interplay of these elements within their own lives and societies. By creating a thought-provoking and immersive experience, we hope to foster dialogue, empathy, and a deeper understanding of how historical traumas continue to influence performance structures, strategies, and societal responses in Indonesia and Germany.
