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Review

Understanding the 1965 Indonesian Coup

April 12, 2021 by George Loh

By George Loh

Image credit: Kawan Kawan Media

The 12th DMZ International Documentary Film Festival screened Director Fanny Chotimah’s debut film, “You and I”. It features the story of two elderly women, Kaminah and Ksdalini who have grown old since their ordeals following their jail term in 1965 (The film later won the Asian Perspective Award in the same Festival). The decision to feature a documentary outlining the effects of the 1965-1966 period, according to Fanny, was to educate the audience on the continued significance of this period to Indonesian history. Until Fanny’s expose on this issue, this controversial piece of history had been arguably blindsided amongst Indonesian media sources, despite the horrific death tolls and the curious rise of President Suharto, whose role throughout the period will be examined.

Context

Kaminah and Ksdalini were the victims of a failed coup, also termed the “September 30 movement”, which occurred after leftist leaders and Indonesian Communist Party (PKI) youth members abducted and killed 6 out of 7 Indonesian generals en route to Halim Air Base. The junior officers argued that they did so to forestall a military coup planned for 5th October, but upon carrying out the killings, they proceeded to seize power in Jakarta in the name of a Revolutionary Council. The movement was very poorly planned, and was quickly stopped, according to official accounts of the story, by General Soeharto who assumed command of the military. Under Soeharto’s control, the soldiers attacked Halim Air Base, where the movement leaders were based. Meanwhile, President Sukarno moved from Halim to Bogor Palace. Soeharto’s swift response sent the coup leaders to flight early on 2nd October, and the coup attempt was over in less than two days. This led to a pogrom (mass riots targeted towards an ethnic/religious group) against the PKI, where mass roundups of PKI members and sympathisers took place. The two women featured in the film are falsely accused of their involvement with the Communists, and the documentary recounts how the sequence of events set in stone the overthrow of the Sukarno regime and the eventual installation of Soeharto into power. This ushered in the famed “New Order” which lasted for decades. More importantly, the subsequent purge of the PKI between 1965-1966 resulted in the deaths of approximately more than 500,000 people (with many more unreported killings).  

The coup took place during a precarious time in Indonesian politics. By 1965, the only significant powers at the centre of Indonesian politics were the President, the PKI and the military. Under Sukarno’s “Guided Democracy,” presidential authority was supreme, but his ailing health meant increasing tussles for power between these three forces. Furthermore, President Sukarno’s increasingly anti-American foreign policy rhetoric, and warm ties with China had also led to American concerns that Indonesia may become a communist state. According to a memo released on 29 September 1965 (one day prior to the coup), the CIA had received intelligence that Indonesia was looking to attain nuclear weapons from China, a significant Communist threat. This accentuated the CIA’s involvement with the September 30 movement, given that they were already involved in previous regional rebellions around Indonesia in 1958. 

Lingering controversies

Today, the motivations behind the 1965 coup remain a mystery, with several different popular interpretations of why the coup came about. The first version, the official version maintained by the Government and taught in Indonesian history textbooks, is that the coup was used by the PKI as an institution to seize state power. Declassified CIA documents have shown that the US Embassy supplied the army with a list of thousands of PKI cadres for targeting following the attack, which made convenient the narrative that the PKI as an institution was responsible, much like their involvement in Madiun in 1949. The second, proposed by the likes of Anderson and McVey, argued that it was an internal army push by junior officers who were disgruntled with the corruption and mismanagement by top military officials (Anderson and McVey, 2009). The third version, according to Crouch, was that the coup was the work of different discontented military officials but that the PKI played a key supporting role (A movement where PKI, Sukarno and Soeharto became entangled.) More recently, the fourth version, according to W.F. Wertheim was that Soeharto and other anti-communist army officials organised the movement through double agents in order to provide a pretext for attacking the PKI and overthrowing Sukarno (Wertheim, 1966). 

As the differing accounts show, there are obvious loopholes in the way the coup materialised. The leftist soldiers and PKI youth members had not kidnapped Soeharto, despite his prominence in the military leadership. Soeharto was also exceptionally quick with his counter-measures and assumption of Army demand. It was these curious loopholes that led Kammen & McGregor to argue that September 30th “was a complex process that lacked a simple schema or linear development.” (Kammen and McGregor, 2012)

Wertheim, meanwhile, argued Soeharto was likely to be in charge of the coup. He had significant implications with the coup leaders, being a friend of both movement’s leaders, Lieutenant Colonel Untung and Colonel Latief. Wertheim highlights that Soeharto was not targeted despite being a key commander of troops in Jakarta and a potential threat to any mutiny or coup attempt.  The movement’s troops did not blockade the Army Strategic Reserve Command’s (KOSTRAD’s) headquarters, although it was not far from their position in front of the palace.   Emotionally, Soeharto had also reacted with “uncanny efficiency in extremely confusing circumstances.”  While most military officials were unsure of what to do, Soeharto seemed to know exactly how to defeat the movement. Finally, the identity of Sjam, who Soeharto claimed was a confidante of PKI leader Aidit, was also suspicious.  Wertheim believes he was a double agent, but it remains to be seen if he was really Aidit’s subordinate, or in charge of the movement to forestall the military coup.

However, even this narrative is difficult to believe. Werthiem’s conjecture makes Soeharto out to be a figure of superhuman genius and foresight. Besides, a plan that involved the removal of top generals would significantly weaken the KOSTRAD, and there is no indication amongst the archival material available that Soeharto had fallen out of favour with his comrades. His goal of crushing the PKI could have been carried out in a more straightforward manner, such as having Untung declare they were working for the PKI. After the coup, the movement leaders did not demand Sukarno appoint Soeharto as Yani’s replacement. While CIA involvement did make it easier for Soeharto to coordinate the process that ultimately resulted in his overthrow of Sukarno, and later the communist killings, the forced confessions of some conspirators cloud narratives that they were not acting on Soeharto’s behalf.

Despite the different accounts available, it is clear that Soeharto was aware of the internal conflict between the PKI and the Army, and that the CIA had supported him in the PKI pogrom that came after. However, the true intentions of the movement leaders remain contested, and continue to cast doubt over the validity of these different accounts put forth. What we also know is that a communist Indonesia, given the state of the Indonesian economy then, as well as deep schisms between it and the majority Muslim groups in the country, was never likely. However, not only did this movement become a pretext for the mutual suspicion and indiscriminate killings of hundreds of thousands of people, it also affected Indonesian life profoundly, with old wounds that have not healed despite the passage of time. 

 

George is a Masters’s student at the Department of Methodology at The London School of Economics (LSE). He received his double bachelors in Political Science and International Relations from The Australian National University, before furthering his studies at the LSE. His interests include examining the phenomenon of democratic backsliding across Southeast Asian states, and the study of the political systems of Southeast Asian states from a comparative perspective. Prior to the commencement of his graduate studies, George held roles in various research capacities, notably an internship stint at Control Risks’ Global Risks Analysis (GRA) team as well as AKE International’s, covering the broader Asia Pacific region.

Filed Under: Feature Tagged With: coup, documentary, Indonesia, Politics, Review

Art Review: “Red Star Over Russia: A Revolution in Visual Culture 1905-55” (Tate Modern, 8 November – 18 February)

February 2, 2018 by Natalia de Orellana

 

By Natalia de Orellana

 

 

Images are repositories of meaning. They are messengers of political ideals, social hopes and human values. Past images come to be read as documents embedded with historical significance, inexorably attesting to the rift between ideology and reality. When graphic designer David King (1943-2016) began to work on the book Red Star Over Russia, he was in fact enterprising a history of the Soviet Union that fused reality and ideology together. He assembled Russian and Soviet material worldwide, reuniting propaganda material, satirical representations and photographic documentation. Seen together, this material offers a complex, turbulent, persistently ambiguous vision of the Soviet Union.

Tate Modern’s Red Star Over Russia: A Revolution in Visual Culture 1905-55 draws on works from King’s archive to explore the tempestuous years between the October Revolution and Stalin’s death through small-scale objects and ephemera.

Photographs of Agitprop trains[1] from shortly after the Revolution mark the starting point of the journey. Multilingual posters cover the walls, furiously yelling at the viewer the slogans that once called the inhabitants of the vastest of territories to action: “Woman! Take Part in the Election of the Soviets”, ”Send Your Son to the Red Army, the Best and Foremost”. Slogans fused with images of the masses, spliced with the overarching red tones that dominate the majority unveil the politically oriented aesthetics of the Soviet avant-garde.

This was a militant aesthetic enterprise. Over the fifty-year period, visual production kept pace with socio-political changes, adopting a myriad of visual strategies allowing information to be mass-reproduced, easily dispatched, and ideally transmitting a message that would remain engrained in people’s minds. Among the most well know examples El Lissitzky’s Beat the Whites with the Red Wedge (1920) unveils Suprematist principles where the directness of geometrical forms and slogan are united into an organic unity, resulting in a work of art made for the masses at the service of the Soviets. By contrast Stepan Karpov’s Friendship of the People (Soviet Republic) (1923-4) offers a more academic approach depicting the hopes to unite the different ethnic, religious, and linguistic groups under the same Soviet flag.

Leaflets, magazines, books -to name but a few- projected Russia’s achievements. Varvara Stepanova and Aleksandr Rodchenko’s LEF, no.2 (1923) illustrate the use of productivist rigour advertising a new era of industrialisation that rejected bourgeois aesthetics. Lissitzky went a step further by composing a photobook, Industry of Socialism (1935), illustrating the progresses of Stalin’s industry program.

Some images matter for their absence. If the exhibition exposes the use of image as vitrine of the hopes of the rising Nation, it also makes an active effort to unveil the appalling truths of the political paranoia governing over Stalin’s regime and nowhere is this more evident than in the room dedicated to “deleting” fallen political figures. The room dedicated to the Soviet Pavilion at the 1937 International Exhibition (Paris) showcases images of the gold-medal pavilion celebrating the achievements brought by the Revolution. This was a bright and optimistic vision, one diametrically opposed to the brutality of the Great Purge, which is spatially translated in the exhibition by the placement of a series of mugshots of presupposed counter-revolutionaries (targets of the Stalin’s purges that culminated in 1937 Moscow trials) in the adjacent room.

This is a show that rejects polite conclusions on the complexity and humanly devastating facets of the subject, offering instead the possibility of looking at a constructed reality as much as at individual narratives. A must-see exhibition for its historical and aesthetic value.

 

PLATES:

 

El Lissitzky

Beat the Whites with the Red Wedge

1920

Lithograph

 

 

 

Stepan Karpov

Friendship of the Peoples

1923-24

Oil on Canvas

 


Curator and art historian, Tally de Orellana holds a dual Master’s degree in Arts Administration & Modern Art History from the School of the Art Institute of Chicago (2016) and an MA in Art History from The University of Edinburgh (2012). She was the 2016-2017 Hilla Rebay International Curatorial Fellow at the Solomon R. Guggenheim Foundation, working in New York, Bilbao, and Venice. Her research interests target the role of institutions and curatorial practices in the systems of formation of cultural hierarchies and artistic identity. You can follow her @Tallydeorellana


Notes:

[1] Propaganda multi-functional trains equipped with exhibition carriages, classrooms and even cinemas.

 


Image Credits

Banner: http://www.mysticforms.com/wp-content/uploads/2017/11/Banner_1000x750_Tate2.jpg

Image 1: http://www.theartstory.org/images20/works/lissitzky_el_2.jpg

Image 2: http://www.wikigallery.org/paintings/198001-198500/198498/painting1.jpg

Filed Under: Art Review Tagged With: Art, Exhibition, feature, Propaganda, Review, USSR

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