Vedurnan
2025
Crocheted cotton thread dyed with batik (wax resist) method
144cmW x 63cmH
Collaborating batik artisan: Heru Sarasa House Jogja (Yogyakarta)
Presented at Biennale Jogja 18, themed “KAWRUH: Land of Rooted Practices”, curated by ketjilbergerak, Bob Edrian and IHwa Eva Lin.
Vedurnan is the sequel to Anekanta (2024), which was an exploration of the politics of identity where rice becomes a tool; the story this time shifts to the Maluku islands and sago. Hainuwele (The Coconut Girl) is a mythological deity rather than goddess; while her body was dismembered and buried, thus producing useful plants for mortals just like with Dewi Sri, she is not worshipped. Her lesser-known myth warns of the lure of external luxuries, which origins might be blurry.
Inspired by Wayang Kulit, the crocheted filet lace is presented with a fabric screen on which the shadow is cast. In it, Hainuwele takes centre place in her iconic squat, hinting at what she was famous for— turning her excrement into valuable objects— neither elegant nor holy. Fully naked except for jewelry, she is immediately recognisable as one originating from the Maluku region. In the surrounding frame are elements inspired by the Eastern region of Indonesia: birds of paradise, spices, natives in indigenous outfits.
A river splits the background in two; on the far bank, some are harvesting sago from felled tree trunks; on the other, farmers reach out for rice in the Nasi Bakul, and Chinese ceramics representing luxurious imports. The river symbolises a divide (Vedurnan) between indigenous knowledge and the appeal of foreign wealth, from which locals have to make a choice.
With Soeharto’s Green Revolution under the New Order, rice consumption and farming was introduced into the region. Sago palms, traditionally the primary staple of this region, are sacrificed for cash crop agriculture, mining, or even 'sustainable energy' companies. However, as the indigenous people are forced to abandon their natural ways of living, witness the mass deforestation of their ancestral land and participate in rice growing, they struggle with discrimination and a diminished lifestyle.
These issues are often swept under the proverbial rug that promises better lives and a united future. As one crosses behind the fabric screen on which the shadow is cast, the Sekar Jagad motif in batik is revealed-- a mirage of unity in diversity. The different 'islands'-- a nod to the Maluku region-- also hints at Hainuwele's gory fate, which blessed the Earth with various plants pictured in each fragment. One often takes the food one receives for granted, but what forces could have shaped the consumption habits of a person, or a nation? The intangible cast shadow does not claim truth, but offers a glimpse into these histories, interwoven with a myth that serves as a cautionary tale.
The word 'Vedurnan' is a fictional term from Ursula Le Guin’s Earthsea novels, meaning a division between dragons-- some chose to give up their ancient wisdom to become human, gaining earthly possessions and skills, while others found freedom in remaining as dragons. I relate this term to the choice that has to be made between indigenous knowledge and modern comforts.
Photos before batik dyeing: Lensed by Clarence Aw