Manuscript Inspiration: Pustaha

The installation also takes inspiration from another leporello-formatted manuscript tradition: the pustaha from the Batak groups in North Sumatra. These pustahas, written in Batak script by Datu s, contain intergenerational knowledge regarding medicine and spells and are housed in covers beautifully carved in wood and bone, often featuring a lizard.

The artist was inspired by both manuscript traditions because they represent localized and spiritual expressions that have not been guaranteed preservation due to differing power dynamics. For instance, 90% of the Khmer kraing manuscripts were destroyed during the Khmer Rouge in the 1970s, as its expression was not allowed.

The artist started to take an interest in these manuscript traditions after obtaining them at Dutch auctions over the years. The Khmer kraing was sold to her by a French seller who had photographed it upside down and had stated it was Laotian. The artist feels uneasy seeing such spiritual manuscripts circulate among collectors, as they were often taken from communities without permission.

Sound: Smot singing

The voice heard upon activating the work is a recording of Lok Ta Balut Um, one of the most revered smot singers. In this particular recording, from the early 20th century, he laments becoming an orphan due to his mother s passing. This recording has been transmitted from vinyl to cassette and can now be found on YouTube and Facebook. Smot singers today still turn to Lok Ta his voice for guidance (Trent Walker, 2023).

You can listen to the recording here on Youtube.

Tortoise

The artist chose the tortoise to carry her manuscript because it generally represents wisdom, longevity, and immortality. She was also drawn to the turtle as it is embedded in the context of Southeast Asia, often depicted on temple reliefs and as sculptures as part of the cosmologies and artistic expressions of Buddhist-Brahmin kingdoms and empires that prevailed in the region from the 6th until the 15th centuries.

After examining the massive bas-relief depicting "The Churning of the Ocean of Milk" at Angkor Wat and seeing the giant stone tortoises at Candi Sukuh, one of the last Hindu temples in Java, she felt that the tortoise was the right being to be the holder of her manuscript.

Khmer, Java and Indian civilisations

As the artist was raised and educated in the West, she recognizes she has had a biased view of art history, art-making, and art expression. For the last 15 years, she has attempted to relearn and unlearn these biases by gaining knowledge about art histories from the Global South. The art of her ancestors, who are Khmer, are influenced by Indic (Buddhist-Brahmin) and Khmer indigenous cosmologies among others.

Through learning about Khmer and Indic iconographies, their symbols, and meanings, she discovered that many cultural connections can be found between Indian, Khmer, and Javanese artistic expressions, influenced by Indianization and trade, among other factors. Discussing these links, such as the close ties between Old Javanese script (Kawi) and Khmer, moves her deeply, as she feels like she is discovering new ways to exist in this world through the ways of her ancestors.

Made possibly by:

More than 40 people contributed to the development of this work, for which the artist is deeply grateful: Studio Kak Ros (Muhamed Rosyidi, Ahmad Yusuf Maulana, and other colleagues), Ragil Aribowo, as well as Kotot, the MenH Studio residency team (Muhammed Eva Nuril Huda, Thomas Picauly, Prajnaputri, Ripase Nostante Purba, Danielle Kevins, Bibid Hriday).

The artist was also advised by: Yoga Efendi (Vivi Efendi and Bima Wisnu), Geger Firmanto and the wider Lifepatch community, the entire Kawan Pustaha team, Tarlen Handayani, Juwita and the wider Palka Kreatif team, Irindhita Ayash Laras Putri, Hudayana Wijaya, Jompet Kuswidananto. The Khmer translation was made possible by Antoine Touch, Dina Huon, Kuychay Chou, and Sansitny Ruth.

The artist is also grateful for the help of Fery Setiawan & Okta Setyawan, Riksa Afiaty and the wider IVAA team, Rinjani Noni, Mella Jaarsma & Nindityo Adipurnomo, Anton Subiyanto, Margaretha Hertatiana Tamba, Dimaz Maulana, Muhammed Dzulqornain, and Tri Mukti Yuliana. Dyah Perwitasari, Dyah Retno Fitriani and the wider Bavaria team (Rifa Nur Anisyah, Leoni Kusama Agustirni, and Sri Andina) were crucial in the development of "Naga Dream" (Mimpi Naga), an artwork that accompanied The Cosmic Tortoise.

The artist is profoundly grateful to the scholars Trent Walker and Wayan Jarrah Sastrawan, whose works over the years have deeply moved her and ultimately inspired her to create this artwork.

Details:

• The tortoise is made from teak wood by Studio Kak Ros. The owner of the studio, Kak Ros was born, raised and trained in Jepara, the capital city for wood carving in Java, with carving traditions dating back more then 500 years.
• The cloth on the back of the turtle is an authentic Khmer ikatt, weaved by hand by traditional artisans in Siem Reap (IKTT), who have produced it from the leaf to the yarn and have dyed it with natural ingredients. It will have taken an Ikat master multiple months to weave such a cloth.
• The golden crown of the tortoise is the belt buckle of a Khmer dancer their belt , which was also handmade in Cambodia and roughly takes up one month to create.
• The engineering was made possible by Ragil Aribowo, who custom made a pulling mechanism, activated with a button. After pushing the button, the tortoise shell will rise and the singing will be heard. The rising and lowering of the shell takes up about 5 mins in total. His colleague Kotot welded the structure for the mechanism.
• The paper is typical watercolor paper from a German factory. It was folded and cut by hand the MenH Studio team, and the Khmer text is handwritten by the artist on both sides.
• The text was translated from English to Khmer by Kuychay Chou and Dina Huon (Thanks to Sansitny Ruth and Antoine Touch). An Indonesian translation by Prajnaputri was also made available on the opening event at IVAA, Yogyakarta, Indonesia (see more details below).
• The Naga Dream (Mimpi Naga) was an artwork developed in the same period and was shown alongside The Cosmic Tortoise. It consisted of a hangmat of a cloth called mori in Javanese, a three headed naga made of folded bananaleaf, folded by the artist, her residency members and friend Dyah Perwitasari. The naga overlooks a baby, a cat and a bird. The baby his head was made of ceramic (made possible by Bavaria team members), and the cat and bird of resin. The items were surrounded by fresh roses.

IVAA Exhibition and Event

“The Cosmic Tortoise” was shown along with “The Naga Dream” at Indonesian Visual Arts Archive in July 2024, Yogyakarta Indonesia. This event attracted more than 75+ audience members who interacted with the artworks, listened to Tol’s lecture performance and participated in the public discussion.

The event was organized by MenH Studio residency team members. There were two MC’s for the event: Prajnaputri and Danielle Kevins, who also provided live translations and led the public discussion. Muhamed Eva Nuril Huda introduced the residency and spoke about his and our experiences, followed by Tol her performance lecture, where she read the translation to the artwork (she did the English translation, and Prajnaputri read the Indonesian translation alongside), expanded on her inspiration for the works and delved into the rumor of an ancient Khmer diaspora in Java (based on a recent article of Martin Derwasatiwan discussing the Javanese hegemony in Cambodia in 7-9th century).

The poster was designed with the help of Noni Rinjani. Photo and video documentation was created by Bibid Hriday, Thomas Picauly and Muhamed Eva Nuril Muhamed. The event was hosted by IVAA and the team was supported in so many ways, including technically, by the institution.

IVAA: Public Event

Final, final thanks from the artist

The works were made during a self organised residency at MenH Studio, made only possible by the generousity of artist Muhamed Eva Nuril Huda from Jogja. During these intense two months, I was extensively supported, conceptually, materially, intellectually by MenH residency members, for which I am immensily grateful for: Ripa, Puput, Danielle, Bibid and Thomas. You guys are so intelligent, funny and.. so so deep. Thank you soooo much!!!!

I am also deeply, deeply thankful for Studio Kak Ros and Pak Ragil for putting so many hours and LOVE into the artwork. Thank you so so so much, and so sorry for the sleepless nights! And thank you for being so brilliant.

Yoga Efendi was instrumental in encouraging me to research the links between Java and Khmer, from visits to the temples to having constant discussions. His relentless mental support and enthousiasm throughout the year sustained me deeply. Terimakasih my superbong!

The wider Yogyakartan art, artisan and history/script communities, Cambodians (thank you translators!), worldwiiide Khmer diaspora (I see you!!) and IVAA were also so so supportive to me, which really meant the world to me. I want to thank Yogyakartans, Cambodians, MenH studio, my friends and fam and anyone who has extended their help to us, for making my dreams come true.

Terima kasih banyak, matur nuwun & អរគុណ​ច្រើន!