Eko Sulistyo
The political landscape of Purwakarta, West Java, has been thrown into a state of heated controversy following the introduction of a Sundanese-language song titled "Lalaki Langit, Lalanang Bejat" by the Regent of Purwakarta, Saepul Bahri Binzein. Known popularly by his moniker Om Zein, the regent is currently facing a wave of criticism from gender equality advocates, political figures, and the general public after the lyrics of the song went viral across various social media platforms. While the song was initially presented as a form of cultural expression and gratitude during a traditional ceremony, its content—which includes graphic references to miscarriage, menstruation, and female anatomy—has been condemned as a regressive display of sexism that reinforces harmful gender stereotypes.
The controversy began during a local cultural event known as Hajat Bumi, held in the Lingga Mukti area. Hajat Bumi is a traditional Sundanese harvest festival intended to express gratitude to the Almighty for the fertility of the land and the abundance of the harvest. However, the spiritual and communal atmosphere of the event was overshadowed when the Regent introduced "Lalaki Langit, Lalanang Bejat" (translated as "Man of the Heavens, Depraved Man"). What was meant to be a moment of local pride quickly transformed into a national discussion on the ethics of public officials and the boundaries of artistic expression in the modern era.
A Detailed Breakdown of the Controversial Lyrics
The song’s lyrics, written in the Sundanese language, employ a comparative structure where the narrator expresses gratitude for being born a man by mocking the biological and social experiences of women. The lyrics specifically touch upon sensitive issues such as teenage pregnancy, reproductive health, and physical appearance.
One of the most heavily criticized verses translates to: "Thank you, God, for creating me as a man. If I were a woman, by the third year of junior high school (SMP), I would have already suffered seven miscarriages." This specific line has been flagged by health advocates and women’s rights groups as being particularly insensitive, as it trivializes the trauma of miscarriage and ignores the serious social issue of underage pregnancy and reproductive health risks in Indonesia.
The song continues to use female biological functions as the punchline of a joke, with another verse stating: "Thank you, God, for creating me as a man. I don’t have to wander around pharmacies because of a late period." This reference to menstruation and the anxiety associated with unplanned pregnancies is viewed by critics as a reduction of women’s lives to their reproductive vulnerabilities. Furthermore, the song mocks women’s grooming habits and physical attributes, with lyrics mentioning the use of padded bras and the difficulty of opening one’s eyes after applying heavy makeup and false eyelashes.
The title itself, "Lalaki Langit, Lalanang Bejat," suggests a dichotomy between the "heavenly man" and the "depraved man," yet the narrative throughout the song focuses almost entirely on disparaging women to elevate the status of men. This "macho" posturing by a high-ranking government official has raised questions about the progress of gender sensitivity training within the Indonesian bureaucracy.
Chronology of the Viral Controversy
The timeline of the incident highlights how quickly local cultural events can transition into national scandals in the age of digital transparency. On Wednesday, July 1, 2026, footage from the Hajat Bumi event began circulating on TikTok and Instagram. Initially, the videos were shared by attendees who were documenting the Regent’s participation in the festivities. However, as viewers began to translate and analyze the lyrics, the tone of the comments shifted from curiosity to outrage.
By the evening of the same day, the hashtag #OmZein and the title of the song were trending on X (formerly Twitter). Women’s rights activists began tagging the Ministry of Women Empowerment and Child Protection (KPPPA) and the National Commission on Violence Against Women (Komnas Perempuan), demanding a formal apology. The speed at which the controversy escalated forced several political figures in West Java to weigh in on the matter, most notably Atalia Praratya, a prominent member of the House of Representatives (DPR RI) and a well-known advocate for women’s issues in West Java.
Official Reactions and Political Fallout
The reaction from Atalia Praratya was swift and unyielding. As a figure who has long championed the "Sekoper Cinta" (School for Women to Achieve Dreams and Hopes) program in West Java, Atalia expressed deep disappointment that a leader of a regency would endorse such rhetoric. In a public statement, she emphasized that public officials have a moral obligation to set an example of respect and dignity for all citizens, regardless of gender.
"Art and culture should be used to unite and educate, not to degrade one segment of society for the sake of a cheap laugh," Atalia remarked. "To joke about miscarriage and the biological struggles of women is not only unfunny; it is a sign of a lack of empathy and a failure to understand the challenges women face in our society."
In addition to Atalia, various NGOs focused on maternal health have pointed out the statistical reality that makes the Regent’s "joke" particularly painful. According to data from the Ministry of Health, West Java continues to face challenges regarding maternal mortality rates and teenage pregnancies. Critics argue that when a leader jokes about a "junior high student having seven miscarriages," he is making light of a systemic failure in education and healthcare that his office is supposed to address.
The Regent’s office has yet to issue a comprehensive formal apology, though some supporters have attempted to frame the song as "traditional Sundanese humor" (guyonan). This defense, however, has been rejected by many Sundanese cultural observers who argue that true Sundanese humor is rooted in wit and social critique, not in the belittling of women’s biological experiences.
Sociological Analysis: Humor vs. Harassment
The controversy surrounding Saepul Bahri Binzein’s song highlights a broader sociological tension in Indonesia between traditional patriarchal humor and evolving standards of gender equality. For decades, "locker room talk" and disparaging jokes about women were often dismissed as harmless banter in many social circles. However, as the global and domestic movement for women’s rights gains momentum, there is a decreasing tolerance for such rhetoric, especially when it originates from the halls of power.
From a linguistic perspective, the use of the Sundanese language adds a layer of cultural complexity. While the language is known for its politeness (undak-usuk basa), it also has a rich tradition of earthy, folk humor. Critics argue that the Regent has weaponized this folk tradition to mask underlying misogyny. By framing the lyrics within a "traditional" context like Hajat Bumi, the song attempts to bypass modern critiques of sexism by claiming cultural immunity.
However, human rights advocates argue that "culture" is never an excuse for discrimination. The song’s focus on the female body—specifically the chest, the reproductive cycle, and the face—is a classic example of "othering," where women are viewed as objects to be analyzed and mocked rather than as equal subjects in society. This creates an environment where gender-based harassment is normalized, potentially leading to more severe social consequences.
Broader Implications for Public Governance
The "Lalaki Langit" incident serves as a cautionary tale for public officials regarding the permanence and reach of digital media. In a previous era, a song performed at a local harvest festival might have remained a local anecdote. Today, every word spoken by a public official is subject to national scrutiny.
This event also raises questions about the vetting process for cultural content produced or promoted by government offices. As the Regent of Purwakarta, Saepul Bahri Binzein represents the state. When he performs a song that mocks women, it can be interpreted as a tacit state endorsement of those views. This has significant implications for public policy, particularly in areas like reproductive health, domestic violence prevention, and female workforce participation. If a leader does not respect women in his "art," the public may rightly question whether he respects them in his policy-making.
Furthermore, the timing of this controversy is sensitive given the ongoing national efforts to implement the Law on Sexual Violence Crimes (UU TPKS). This law aims to shift the cultural paradigm in Indonesia toward better protection for women and victims of harassment. The Regent’s lyrics appear to run counter to the spirit of this national legislation, highlighting a disconnect between central government goals and local leadership attitudes.
Conclusion and the Path Forward
As the debate continues to simmer, the call for a formal retraction and a commitment to gender sensitivity training for local officials in Purwakarta grows louder. The incident has sparked a necessary, albeit painful, conversation about the role of women in Indonesian society and the standards to which public servants must be held.
For the people of Purwakarta, the focus remains on whether their leader can reconcile his public persona with the diverse needs and dignity of his female constituents. While the "Lalaki Langit" song may have been intended as a lighthearted addition to a festival, its legacy is now one of division and a reminder of the long road ahead for gender equality in the heart of West Java. The resolution of this controversy will likely serve as a benchmark for how other Indonesian leaders navigate the intersection of traditional culture and modern human rights.
