Adi Helmi Jaini (seated, far left) with members of the Pangrok Sulap collective (All photos: Pangrok Sulap)
"Since we started in 2010, our work has always centred on issues in our own communities and the places we have visited abroad. We like to depict the reality of these situations in our art, which often critiques non-transparent systems, biases and double standards, rather than pointing fingers at individuals. Instead, we create a space for the community, artists and scholars to discuss these issues,” says Adi Helmi Jaini, 35, of Pangrok Sulap.
As the collective’s unofficial spokesman, he does not mince his words. Now, he says, its focus is more on using art to drive impactful actions.
Formed in 2010 by Rizo Leong, 40, Jerome Manjat, 40, and McFeddy Simon, 35, in Ranau, Sabah, the collective went on to include artists, curators, writers, researchers, activists, musicians, graphic designers, entrepreneurs, craftspeople and more. This diversity enriches its discipline, making it more dynamic and better equipped to run various activities. It has grown over the years, but there is no fixed number of members.
“It always depends on the project we’re working on. We operate without a leader as everyone is considered one and all opinions are welcome. Decisions are usually made collectively,” says Adi.
Aligned with the mission to strengthen the community through art, Pangrok Sulap has organised exhibitions, projects and collaborations with multiple communities to foster social, cultural, economic and educational development.
Since 2013, after learning woodcut printmaking from Marjinal, a Jakarta-based punk band and art collective, the members have used this medium as their main tool for spreading social messages. They often create large-scale exhibition works as well as handmade merchandise such as cloth badges, tote bags and T-shirts and commissioned banners for events.
But what inspired the formation of Pangrok Sulap and how did its mission to empower rural communities through art come about? “It happened organically. Most of us do not come from an academic art background, only two of us went to university to study art. The rest are self-taught. However, our passion for DIY art is strong due to our previous involvement in the underground scene,” says Adi.
Initially, Pangrok Sulap was the name used when they organised and performed underground punk gigs around Ranau. After the group seriously adopted woodcut printmaking as their medium, the name stuck. They believe that art can bring about change and be used as a tool, which strengthens the collective’s spirit to continue helping the community.
“Art is not just about showcasing beauty, but also addressing issues, conflicts, social problems, culture, history and local knowledge that can be accessed through visuals. We are also actively involved in social activities, such as volunteering to install mini hydroelectric systems. From there, we sought ways to combine these two passions into a purpose. To this day, with every art project we undertake, we find ways for it to function or give back to the community,” he explains.
They strongly embrace the DIY concept and slogan “Jangan Beli, Bikin Sendiri” because it is deeply rooted in the punk scene philosophy and reflects how they, as a collective, maximise all their resources. “We believe every member has ideas and expertise that can advance the collective. The slogan doesn’t only refer to materials but also ideas, experiences and skills. For instance, when we need expertise in electrical installation, we first look for friends who can do it and the person will be considered part of the collective. If we can’t find any, only then do we outsource. We’ve gained a lot from rural communities, especially after seeing how they optimise their resources, and we’ve come to appreciate sufficiency.”
By engaging with rural communities, Pangrok Sulap has learnt to be sustainable. “Our experience taught us that rural communities live collectively and it motivates us to do the same. This approach aligns with the gotong royong practice in the Nusantara region, a long-standing tradition. For example, during a wedding, neighbours often lend their plates and utensils or offer help in other ways. This concept is something we’ve long practised in our daily lives, proving to be an effective system for saving on costs and resources,” says Adi.
pangrok.jpg
In 2023, the members collaborated with the community in Kampung Penulangon, Ranau, to create a large-scale artwork depicting the construction of a mini hydroelectric system. “In Sabah, there are still over 400 villages in remote areas where access is extremely limited, requiring off-road vehicles due to poor road conditions,” he recalls.
The first phase involved conducting a basic woodcut printmaking workshop, allowing the collective to connect with and befriend the community. The second phase was to co-create a large-scale artwork together. “During this time, we stayed there for 10 days and participated in village activities such as paddy harvesting, football and socialising with the locals. In the process of creating this artwork, we exchanged and generated ideas with the community. This artwork not only narrates the process of building the mini hydro system but also encompasses their history, culture and the issues they face. We exhibited this piece at Ilham Gallery in Kuala Lumpur and sold editions of the print as well as the masterboard to raise funds for the project through our panel gallery, A+ Works of Art.”
In the third phase, the collective collaborated with non-governmental organisation Lightup Borneo for the installation of the mini hydro system with the participation of the villagers. “Now, 27 houses have electricity. This is how we use art to give back to the community,” Adi says with palpable pride in a phone call from Down Under.
Eight members of the collective are currently in Perth, Australia, to create five large panels for the Indian Ocean Craft Triennial (IOTA24). “Our first visit here back in March was for a site survey and to gather data on our chosen topic: the diaspora of people migrating to Australia in search of better jobs and lives. We also explored the issues, factors and dilemmas they experience.[At press time] we are in the process of completing the artwork, which will be displayed at Curtin University on July 26,” he says.
The group also participated in a two-week residency in Pattani, Thailand, and will show their work on Aug 10 and 11.
There have been several milestones to date. “Our mission has always been to give back to the community. Besides our mini hydro projects, we have also established a community centre named Ruang Tamu Ekosistem. This space serves as a platform for the people to express themselves, engage in discussions, share knowledge, skills, ideas and more. This idea gained strength after we joined the Gudskul Collective Study programme, where we believed this ecosystem could make a difference,” says Adi.
Pangrok Sulap recently established a residency programme, set to be launched in August, for one to two months. “Our goal is to invite international artists to collaborate with local talents in the hope that the latter learn new skills and eventually participate in exchange programmes abroad. As of now, three international artists have come for residency: a female paper-cutting artist from the UK for a month, a Japan-based Filipino videographer for a month and a Polish tattoo artist is currently doing a two-week residency at Ruang Tamu Ekosistem.”
This article first appeared on Jul 22, 2024 in The Edge Malaysia.
