American Individualism Reflected in Pop Culture, Literature, History and Philosophy
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VOL 3, NO 2 SEPTEMBER 2OO9 ISSN: 1978-3493 AMERICAN INDIVIDUALISM REFLECTED IN POP CULTURE, LITERATURE, HISTORY AND PHILOSOPHY Didik Murwantonor Intisari Paper ini tidak akan menyoroti makna individualisme secara mendalam atau tepatnya individualisme di Amerika, namun hanyalah berupa ide-ide terhadap rndrvidualisme Amerika. Pemaknaan individualisme akan tercermin dalam konteks seperti budaya populer, karya sastra, philosophy serta perspektifpenulis terhadap Indonesia. Banyak konteks-konteks lain dalam pemaknaan individuarisme ','ang tercermin dalam kehidupan sehari - hari, misal, pemberian pemahaman rndi'idualisme sejak usia dini tentang adanya tanggung jawab terhadap diri .:ndiri. Kata kunci: Individualisme, konteks, budaya populer, sejarah, sosial, karya i fitta INTRODUCTION All references to "America" or "American" refer to the United Stated of r :,-.;: and its residents unless otherwise noted. Obviously the Asian, the i :.:,.'. :rd the Mexican are equallyAmerican but globally the use of the word 1.1':ri antono, S.S, M.Hum is a secretary of English Department in Sultan Agung Islamic . S:marang. He obtained his master in American Studies program in Gadjah Mada ':: He is currently pursuing his doctoral program the same University. American Individualism Didik Murwantono "American" is understood to mean citizens of the United States of America. The most impoftant thing to understand about Americans is probably their devotion to individualism. The stereofypic images associated with American individuality are not only abundant but abundantly well known the world over. The American cowboy counts among the most powerful and proliferated of these images. But I herewith write not only of the American as individualist in popular cultwe but also of some of the highlights and variations of American Individualism in American literature, history and philosophy. As the tipping of the scales toward one end more than the other of the continuum between individual and community is one of the more frequently invoked binaries of comparison between East and West an exploration of what various forms of individualism might mean in the Indonesian context, particularly in Indonesian literature and culture, would be of great interest. Which avatars of individualism are aiready present in Indonesian society, culture, language and literature? And what might future manifestations look like? What will modern Southeast Asian individualism look like in the near future and which traits, if any, will transcend geographic, linguistic, national, ethnic, economic, and political determinations to reveal more global configurations of Individualistic thought and practice, or its curtailment? Or will such contingencies abnegate al1 claims of universality? A comparative approach would, no doubt shed a great deal of light on the topic of individualism. But first 1et us look at the American story. THE AMERICAN COWBOY I see the cowboy all over Solo, Semarang and Yogyakarta where he towers over me on massive billboards. He is most frequently depicted as the only human in a vast landscape. He is a 1oner, a free soul, a man who finds his strength in the solitude of vast stretches of uninhabited countryside. The ilil VOL 3, NO 2 SEPTEMBER 2OO9 ISSN: 1978-3493 have me marketing executives for the markers of Marlboro cigarettes would particular brand believe that most of his vitality comes from induigence in their cigarettes but of tobacco. The advertisements are effective not only in selling inpropagatingthemythoftheAmericancowboy.AmericansliveinMarlboro country. oneofHollywood'smostconsistentstockcharactertypesisthatofthe society, lone hero standing tall against the slings and arrows of an outrageous him to be particularly a society of outlaws. He wins whether the plot allows he wins and the triumphant or not. If he stands up to the villains and survives but heartened audience is moved. If he is defeated the audience is saddened been in chalking up a moral victory for ideals worth dying for' We have or argument manipulated to identify with him - almost regardless of his cause ..tyranni.ca1,, aS a rogue - and not the society of outlaws, who see our hero One of most threat to their freely chosen social organizarton and way of life' iconic of this character type is the Western cowboy' plays both In the classic Westem film High Noon (1952) Gary Cooper cowboyandlonehero.TheWestemfilmcelebratesandlamentsthesettling of the frontier west of Mississippi, the wild west. In the genre excessive just' He is individualism and brute force are honored, provided the cause is -efttorunthedespoticbadguysoutoftownwhilebeingabandonedbythe corr'ardlytownsfolkheisdefending.Hefightsnotforthetownsomuchas not a self- :br his own principles and sense of honor. He is an individualist, sacfficing defender of the PeoPle. DespiteHolll.wood,sperpetualrevisitingofonlytheanarchicparlofthe for \\lld west the frontier folk and their townships quickly learned the need allowing ;Llilnunities with shared values - the brief absence of such society In the end : i.un' of Hobbesian "State of Nature" lawlessness and chaos' mid-nineteenth century 31 en one seemed to agree with Aiexis de Tocqueville r:i:rque (from Democracy in America, Part II, 1840) of individualism's ::rCencl'todevolveintoegoism:"Individuatism,atfirst'onlysapsthevirtues American Individualism Didik Murwantono of public life; but in the longrun it attacks and destroys all others and is at length absorbed in downright selfishness." The sequel to the Westem and its cowboy hero has in large part been the "renegade cop" or "good soldier" genre: 41 Pacino's Serpico, Clint Eastwood's Dirty Harry, Sylvester Stallone's Rambo, and most of the roles played by Amoid Schwarzenegger. All of these characters single-handedly take on the riff raff of a city (or the world) and win. Each of them is abandoned by superwisors, society's less effective institutional and bureaucratic leaders, but their rugged individualism and go-it-alone approach allows them to overcome the odds and not only survive but triumph. Their victory is portrayed not only as a personal one but also as a practical and moral victory for a1l of society and ideals such as justice and humaniry. These are the images of America and the American character that of the world is most familiar with. The long reel of Hollywood reaches deep into the world's psyche buming in the eidetic image of the American individualist. It may take the form of the rugged individualist, the libertine, the seemingly ironic altruist or myriad other manifestations but the overall archetype is undeniable' American pop culture is our biggest export though it is impossible to measure its influence in mere fi.gures of revenues generated' Such characterizations from Holl1wood and the American music industry from, by sheer visual and auditory bombardment, the dominant impression of Americanisms" as perceived by the rest of the world. But, for the most part, this revelation of American character, whether accufate or not, is wholly a phenomenon of popular cuhure. There is another very influential realm of ideas, images, and metaphors that exists in literary culture. In this realm we also encounter myriad depictions of the American as Individualist as well as more systematic outlines of American Individualism as philosophy or general worldview. vol, 3, NO 2 SEPTEMBER 2009 ISSN: 1978-3493 PURITANS AND REBELS Theeasiestplacetodrawaquickterminusoforiginatingliterarydepictions Franklin' As a of American Individualism is with the writings of Benjamin an individualist. In his rue Renai.ssance man Franklin was quintessentially of speech wide range of genre and topic Franklin would advocate freedom the American love and of press (himself being a printer)' He would laud form the days of of open and spirited debate, depicting a great turn around totalitarianruleandtheruthlesssuppressionofdissentinthenascentpuritan class (when compared colonies. He credited the emergence of a large middle spoke of the utter to Europe) to greater egalitarianism and opportulity and privilege by birth' Franklin's American disregard, even loathing' of claims to the class and caste of Autobiographyrelates his personai transcendence above hisbirth-afeatmuchlesspossiblehadhebeenborninEurope-andlaudsthe l'irtuesofindividualselfimprovement-givingthetextthecharacterofthe self-he1p book. joumal' Poor The witty aphorisms proffered in his widely successful self-suffrciency' Richartl's Almanac, admonish the reader to industry thrift' andpersonalvirtue:,,Eartytobedandearlytorisemakesamanhealthy, you ought' ctnd not trealthy, and wise"; "Would you live with ease' / Do what ',rhatyouplease";"Godhelpsthemthathelpthemselves"Therewereseveral culturalandgeographicalfactorsatthetimeofFrankiin,sAutobiographythat ]enttheAmericancharactertogreatelreceptivityofindividualistideasand Puritan influence' breaking away from the communal pressures of the old on thought' To look back in retrospect and conclude a Puritan monopoly n'orldview,andsocietalarrangementisto,perhaps,maketoomuchofthePuritan indicate' Undisputedly hegemony that colonial American literature seems to -}ete*'erecontestingworldviewsandi.nfluences.Infact,NorthAmericainthe :el'enteenthcenturywasaveritabletestinggroundforallmannerofsocietal characters from the hedonists 3rrangements -social experiments, really - and American Individualism Didik Murwantono 710 dancing around the Maypole to coloniar pilragers, joint-venture coronies (such as the one at Jamestown), mini-theocracies, and agricultural settlers with no thought of