Indonesia's cultural sector is facing systemic neglect and economic vulnerability, with limited state support pushing artists and cultural workers to the brink, said Ade Darmawan, co-founder of the Jakarta-based art collective Ruang Rupa.

Darmawan emphasized that creative and cultural industries remain fragile and under-supported, making them susceptible to the influence of extractive industries and ethically questionable funding sources.

“The government support exists, but it’s very limited.This sector is extremely vulnerable. When something this fragile is left unprotected, other interests can easily move in,” Darmawan spoke to Indonesia Business Post on the sidelines of the Synchronize Festival on Wednesday, September 11, 2025,

Darmawan pointed to the collective’s own use of the “Lumbung” model − an alternative, community-based economic structure developed during their curation of “documenta 15th” in Germany as an attempt to survive on their own terms. The model encourages collaboration and the redistribution of resources among artists and collectives.

“Lumbung is one of our tools for survival,” he said. “But what we need is broader consolidation and stronger connections across the ecosystem. That hasn’t happened yet.”

Documenta is an international arts event held in Kassel, Germany, every five years since 1995 to bring together artists, cultural workers, art activists, and visitors to contemporary art exhibitions.

Darmawan warned that without substantial and sustainable economic support, many in the cultural sector are left with no choice but to engage with questionable partners.

“It’s easy to say ‘no’ to the bad options when you have alternatives. But if you’re in a desperate position, sometimes those bad options are the only ones available,” he cited.

Darmawan also highlighted the importance of transparency in dealing with funding sources, urging cultural practitioners to be more informed and conscious of where resources originate.

“These choices can be dangerous. It’s not always black and white, but for me personally, I do see it in black and white terms. At the same time, I understand why others may find it harder to draw the line it’s a result of vulnerability and lack of options,” he added.

The conversation, Darmawan added, shed light on a topic that is rarely addressed openly: the economic realities behind artistic survival in Indonesia.

“We rarely talk about how artists survive, how they make a living. And that’s a crucial conversation especially in an event as big as Synchronize,” he said.

“Imagine how much harder it is for traditional artists in remote areas. Who supports them?”

Darmawan called on the public to take an active role in safeguarding cultural heritage and supporting sustainable artistic practices, particularly for traditional arts that are increasingly at risk of extinction.

“If we agree that culture belongs to the public, then we must build it together on healthier and more equitable terms,” he concluded.