Smashing Through Barriers: A Socio-Political Analysis of ‘Susi Susanti: Love All’
The biographical film ‘Susi Susanti: Love All’ not only tells the story of a badminton athlete from Tasikmalaya’s journey to glory, but also tells the perspective of the socio-political issues during the New Order era in Indonesia related to ethnic discrimination and social injustice that characterised the period.
Born in Tasikmalaya, West Java on 11 February 1971, Susi Susanti started playing badminton at an early age and quickly showed remarkable talent. Her career took off when she won a gold medal at the 1992 Barcelona Olympics, which became a historic moment for Indonesia as the first gold medal at the Olympics.
As an athlete of Chinese descent, Susi Susanti is portrayed as facing various challenges off the court. The film shows how the New Order’s assimilation policy affected the lives of people of Chinese descent, including Susi’s family. Scenes featuring the need to change names to become more ‘indigenous’ and the pressure to abandon Chinese cultural traditions are a clear reflection of the identity politics that prevailed at the time.
More than that, ‘Susi Susanti: Love All’ also explores the dilemma faced by its main character. On one hand, Susi is a talented athlete who brings hope to the nation. On the other hand, she is constantly reminded of her status as a ‘non-indigenous’ citizen. This tension reaches its peak when Susi must prove herself not only as a great athlete, but also as a ‘true’ citizen in the eyes of the government and society.
The movie also highlights the role of sports, particularly badminton, in New Order politics. Sporting achievements were often used as a propaganda tool to project a positive image of Indonesia in the eyes of the world. Through Susi’s character, the audience is invited to reflect on how top athletes often become ‘ambassadors’ of the country, even when they themselves face discrimination at home.
Another is the relationship between Susi and Alan Budikusuma. Their love story is not only a romantic factor in the film, but also hints at the complex inter-ethnic relations of the time. The couple’s struggle for recognition and acceptance reflects a larger social reality.
Quoting from the ensiklopedia website, the Surat Bukti Kewarganegaraan Republik Indonesia (SBKRI) policy issued by the Minister of Justice G.A. Maengkom and endorsed by President Soekarno in the Old Order government regarding identity cards stating that the owner is a citizen of the Republic of Indonesia. However, the SBKRI was only given to Indonesian citizens of descent, especially those of Chinese and Indian descent. This was considered by many as discriminatory treatment against other ethnicities, especially the Chinese.
During the New Order period, especially in terms of the obligation to change identity from Chinese names to local names, Chinese as an ethnic minority were often discriminated against during the Dutch era with the issuance of various regulations that positioned Chinese as a second-class race under the Dutch and above the indigenous ethnicity, However, during the reformation period, marked by the events of May 1998 where there were mostly Chinese victims, the government swiftly made new decisions with a democratic system and upholding human rights by removing discriminatory regulations, which were aimed at discriminating against the Chinese minority.
However, the movie also shows that change does not happen overnight. Even at the height of her success, Susi still had to overcome prejudice and discrimination. It is a reminder that the fight for social justice is a long struggle that requires perseverance.
Apart from all that, ‘Susi Susanti: Love All’ succeeds as a biopic that raises relevant questions about identity, nationalism, and social justice in the New Order era. By highlighting one of Indonesia’s great athletes, the movie allows viewers to reflect on the nation’s history and the important lessons that can be learnt.
