The case of banned Indonesian punk band Sukatani
This music censorship case demonstrates censored artwork’s tenacity: banned music always finds its way to reach its listeners. However, while a song might ironically – go viral thanks to the censorship, the musicians — especially women — often suffer severe consequences. This raises the question of what resources are needed to care for the wellbeing of the artists?
On 20 February 2025, Indonesian punk band Sukatani posted an apology video addressed to the Indonesian National Police on their Instagram account @sukatani.band, stating that they had removed their song, ‘Bayar Bayar Bayar’ (‘Bribe, Bribe, Bribe’), from all streaming platforms. They also asked their fans to delete videos containing the song on social media saying Sukatani “will not be responsible for any issues arising in the future.”
The song criticises police officers who abuse their authority. The lyrics capture a reality experienced by many Indonesians who are forced to bribe corrupt police officers: from obtaining a driving license, securing gig permits, reporting lost belongings, “negotiating” prison terms, to obtaining logging licenses.
Sukatani’s fans were shocked by the apology video because in it the previously anonymous duo — known only by their stage names Alectroguy and Twister Angel — appeared without masks for the first time. People blamed the police for forcing them to make the video and for exposing the duo’s real identities.
Predictably, both the National Police and the Central Java Regional Police at first denied the accusations. The National Police said it is a modern institution that welcomes public criticism and that no orders were issued to Sukatani to remove their songs from streaming platforms. However, the National Police subsequently apologized offering the honorary title of “Police Ambassador” to the Sukatani duo and giving them permission to reupload their song. The Regional Police followed suit, issuing a statement that everyone was free to express their opinion.
The ban, to the police’s chagrin, had only served to make the song go viral. ‘Bayar Bayar Bayar’ had gained 200K streams before the ban, but now it was everywhere, online and offline. The video also went viral alongside various reinterpretations in memes and videos mocking the police. Many musicians made cover versions of the song. Other bands performed the song and offered public support to Sukatani at their own concerts. During the Iklim Fest music and arts festival in Jakarta, Balinese eco-punk band Navicula featured images of Sukatani on their stage backdrop, reminding the audience that “in this dark era we are entering, we should not be afraid to scream louder.” The hashtag #kamibersamasukatani (We are with Sukatani) also went viral. One of the most popular video memes was posted on X by Kementerian Kegelapan (The Ministry of Darkness) portraying police officers doing their exercises with the song playing in the background. It has so far gained 2.7 million views. Human rights organisations, led by the Indonesian Legal Aid Foundation, offered their support by providing legal consultation. Other organisations and individual activists initiated campaigns to support Sukatani on social media.
On 24 February 2025, the Detik.com news portal reported that Sukatani’s vocalist, Twister Angel, had been fired from her job as a public-school teacher apparently for violating the school’s Code of Ethics. Teaching was Twister Angel’s main source of income, and she had intended to build a career as a teacher.
The Sukatani case went viral at a moment when the Indonesian civil movement needed a figure to strengthen their resistance. Students and activists rallied on the streets of many cities in a series of protests dubbed ‘Dark Indonesia.’ Their main targets of criticism were the government’s recent “budget efficiency” drive that has impacted state education funds, healthcare and various ministerial programs. They also resisted the government’s attempt to reinstate the military and police’s “dual function,” that would allow active military and police officers to take up civilian positions in the government, by revising the Indonesian National Military and Police Law. During the street rallies, protesters performed ‘Bayar Bayar Bayar’ in front of police and military officers. Sukatani became a symbol of hope that ordinary Indonesians longed for.
On 1 March 2025, Sukatani issued a public statement that they had indeed faced intimidation by the police. They uploaded a post on their Instagram account detailing the incident that happened in July 2024. According to the statement, the duo said they had suffered from both financial and psychological damages from which they were still recovering. They said Twister Angel’s termination of employment was an example of unfair workplace treatment, with the reason given for the termination was her being a member of a punk band. The school did not explain why that was considered as a “severe violation of the code of ethics.”
The Sukatani case illustrates how artists can be intimidated and pressured into apologizing for their creative expressions by a police force unwilling to tolerate criticism. However, it also demonstrates how censorship efforts can backfire, igniting public outrage and drawing even more attention to the very works authorities seek to suppress—elevating their creators to cause célèbre status. Yet for the artists, the consequences of censorship often extend far beyond the initial controversy. They risk being blacklisted and, as in the case of Twister Angel, losing their livelihoods.
At the same time, the case prompts reflection on the unintended consequences of turning artists into symbols of resistance, raising questions about the risk of glorifying them as “martyrs” for a larger cause. As cultural rights defenders we are aware that we have very limited resources to provide care for artists at risk. This area needs more support urgently. Labour of care exists side by side with labour of love (for culture, music, and the arts). To sing louder, we need deeper investment in long-ignored care work.
Ratri Ninditya
Coordinator for Research at Koalisi Seni, a partner organization of Freemuse.
