Tag: Roland Barthes

Amsterdam

Schipol International Airport feels “state of the art”, like an airport in Asia or the Middle East.  I read in Nudge that this is the first airport which urinals have “fly” on them, nudging men to aim better therefore reducing urine spillover.  No wonder it is listed as one of the best airports in the world. The peculiar thing I saw at the arrival gate was a spandoek (banner) vending machine. You can buy a custom print banner on the machine to welcome your arriving friends. 

We took the train to Amsterdam Centraal and then tram to our first hotel: Hotel Not Hotel, a designer hotel where all rooms are different, thematically and construction wise. “Crisis Free Zone”,  “Secret Bookcases”, “Crow’s Nest”, “Volkswagen T1”, and more (no private bathroom, but the communal bathroom itself is also an artwork). We stayed in the Tram Room, just for one night; we were transiting. Amsterdam was our entry and exit point for our Eurotrip 2017—we took “local” European flights from there to Austria and returned from Malta as the last leg of our trip. 

When we returned to the city, and spent 5 nights  exploring, we stayed at Cocomama Hostel. The hostel building once housed a brothel. We were already too old for the dorm room, so we booked one of the double private ensuite,  “Royal” themed room. Despite it’s a hostel, Cocomama’s toiletries are fancy—the shampoos; soaps; conditioners; and lotions are equal with, maybe even better than most five star chain hotels. Our room is on the upper floor and, since it is Europe, no lift (but the kind Scottish staff helped carry one of our luggages).

When we are feeling social (which is often), we went downstairs to the common area.The living room and the garden are warm and cosy. We met the owner of the hostel: Joop de kat. He greeted us, asking if we have food for him. However, he’s under strict order by the vet to diet; unhealthily fat. So we just paid our respect by petting and playing with him.

Joop, the proprietor of Cocomama

True to Amsterdam’s mercantilism soul, Cocomama accepts all kinds of payment from cash, credit card, to Bitcoin cryptocurrency. A kitchen is available if you want to cook. Cocomama delivers the best of the both world: the comforts of a hotel and the warm social cocoon of a hostel.

Just across the street of Cocomama is the School of Life Amsterdam. I am a fan of the institution. Alain de Botton is an influential writer/philosopher to my personal development. His writings helped me make better sense of my secular existence. We took one of the emotional intelligence development classes “Creating Better Habits” by the Happyiologist Susanna Halonen,  in the School’s London HQ. The Amsterdam’s classes, at that time (2017), mostly are in Dutch.

The first conscious effort we have to make in Amsterdam is not to talk offensively in Indonesian as freely as when we usually do in other countries (our favourite activity when travelling is people watching—and commenting on them is inevitable). Many people speaks Indonesian in Amsterdam. The airport security officers questioned me in Indonesian. A senior white Dutchman talked with me in Indonesian. A mixed race girl greeted me in Indonesian. There, we were not protected with by the anonymity of our foreign tongue. 

Amsterdam was love at first sight. It’s like London, but curated and with only the best parts: multicultural, liberal, beautiful parks and canals (and people), and great museums and art galleries. A bit messy but charming. 

We rent student museum passes from the hostel, assumed the identity of the pass holders. We visited the Rijksmuseum, saw the real life Rembrant’s Nightwatch. If the Old Master lived in an era after photography has been invented, would he still chose painting as his medium? There was a collection of Raden Saleh’s paintings. Here he was the European dandy, not the Javanese gentry. Like Yukio Mishima, he built a persona of a westernised oriental true to his heritage. An exotic creature whom westerners can relate to; the archetype of Aouda in Jules Verne’s Around the World in 80 Days. I remember I was also enchanted by Bosch and his descriptive paintings of hell.

We skipped posing before the “I ♥ Amsterdam” at sign Museumplein though.

I learned more about Rembrandt by visiting his house—Museum het Rembrandthuis. Bought Rembrandt’s Bible Stories which, as the title suggests, bible stories accompanied by Rembrant’s illustrations. The stories are somehow secularised, I think, focusing more on human relationships than divinity.

I met up with an airsoft mate, as well as his Indonesian friends living in Amsterdam. The meeting place was Leidseplein, the Oxford Circus of Amsterdam. If it’s up to me, I would not choose that. I guess most people assume that Indonesian would always prefer shopping centres. However, there was a Banksy graffiti there. Plus my friend bought me beers and lunch.

We had a social education at the Red Light District. Took a tour organised by the Prostitution Institution Center. Our guide wore a low cut dress, she has a tattoo on her left boob. I didn’t ask if she is also (or was) a sex worker, but she has a Master’s degree in history. 

Prostitution is not just decriminalised but legal in Netherlands. The window brothels and the sex shows are legitimate businesses. They pay taxes— there are accountants, finance and tax advisers opening their offices in the Red Light District catering the sex industry. Therefore, the sex workers have rights and the industry receive government’s support. 

Legalising prostitution is a way to mitigate exploitation of the sex workers. I saw the ladies inside the windows look healthy (unlike sex workers in places where prostitution is criminalised, e.g. Bangkok or Jakarta, where they look skinny and underage). It is not a perfect system—illegal prostitution still exists, partially because you have to comply with complex rules and pay taxes to be legitimate. 

The sex workers come from every races and their operating areas seem to be clustered. It is not by regulation, people tend to flock with people who look the same with them—homophily. The police are actively patrolling the area. It’s not that there are many crimes, the police presence is a way to send a public message that the prostitution is also under the protection of the law. The sex establishments also employ bouncers. So it was pretty safe environment for the sex workers and the guests who are coming to have some fun.

Pimping, however, is a crime. No one should have the right to take the sex worker’s income. Sex workers can and have the right to refuse clients. 

I read in Mariska Majoor’s When Sex Becomes Work that when sex workers work in a club, they work under profit sharing arrangement with the proprietor.  While working the windows provide the best independence: the sex worker simply rent the space on hourly basis from the landlord. They just offset their income with the rent; any profit or loss is theirs. Therefore, they can decide where and when to work. 

We also went to Casa Rosso, a live sex show theatre, which Lonely Planet describes as “couple friendly”. They have varieties of shows: burlesque, smoking vulva, pole dance, male stripper, lesbian, even actual intercourse on stage (no male on male though). No-photography and no-videography are strictly enforced. The performers would stop the show and yell at any offender. The bouncers would warn you (not nicely). 

We came in when it was smoking vulva show (the performer smoked a cigar with her vagina). Then it was the live intercourse. A group of tourists came in just at that. Some of them were shocked and froze, even when they were ushered to their seats. In certain shows, the performer asked for a member of the audience to volunteer to be a part of the show. 

It would have been more fun if we came as a group and one of us volunteered. However, I found live sex shows are not like porn films. I was not aroused. It felt silly instead or downright disturbing (is it normal to feel this way?). Also I found it impressive that the male performers can maintain their erection despite all the distractions on stage (he does the show in hourly cycle from 7pm to 1am—without coming).

Our conclusion from the Red Light District: sex work is definitely a work. And a hard work. Imagine servicing 5 to 25 clients in 8 hour shift or performing non-stop sex show for 6 hours! That debunks the myth that prostitution money is easy money. 

Anyway, if you want to employ the sex services, the Prostitution Information Center is a reliable place to get referrals.

I don’t like buying oleh-oleh (travel gifts), but Condomerie is the perfect place to acquire Amsterdam souvenirs. You can buy utilitarian condoms in any shape, size, and colour and/or decorative condoms (but strictly not for use). I giggled like a teenage boy peeking at porn magazine upon entering. Bought two decorative condoms for my friend. Useless trinkets, but fun (and I got complimentary coloured condoms).

For World War II enthusiasts, the Anne Frank House is the obvious must see. I’d recommend  to read her diary prior visiting. The house is small, we spent much longer time queuing than seeing the museum (if you want to avoid the queue, you’d need to pre-book tickets on the website at least a month before) . The attic’s Secret Annexe, in which the Franks were hiding, gave us better of sense of Anne’s sufferings to be restricted in a confined space.  From her diary, we can see how Anne matured rapidly during her exile. She was a happy popular flirty teenage girl before the occupation which took her freedom (and later, her life).

Verzetsmuseum (the Museum of Resistance) is the lesser known museum about World War II, but a definite top sight on the era. It houses well curated artefacts related to Netherlands during the war. The main exhibitions focus on the Nazi occupation, under which Amsterdamers must choose between adapting, resisting, or collaborating. The Junior wing is the most fun—the interactive installations playfully narrates the experience of Dutch children from different family backgrounds: resistance fighters; Jews (Anne Frank’s neighbour); and fascists NSB. 

The Dutch East Indies wing was particularly interesting for me. I was taught the partisan nationalist historical narratives of the Indonesian revolution at school. The museum’s narrative is more nuanced, although antagonistic to the Imperial Japanese occupation (maybe rightfully, Indonesian senior citizens who lived through the colonial times testified that the Japanese were very brutal). 

There was a temporary exhibition of “The Gulag: Terror and Arbitrary Rule in the Soviet Union”. It was the first time I realised that Stalin was worse than Hitler (at least in terms of kill counts).

The Sex Museum is a quirky museum with silly exhibits: puffing condoms, erotic decorative artefacts, dioramas of sex scenes—flashers; backstreet handjob; the inside of red light district’s window; oriental brothel; and sex icons such as Marilyn Monroe and Mata Hari. The museum’s restroom is also a part of the exhibitions: vulva shaped urinal and water closet. The wash basin mirror projects a sensual animation about Alfons Mucha on the loop. The final exhibit is a historical narrative reel about sexuality of the [western] society: how the moral pendulum swings from  time to time. Europeans were sexually liberal during the pagan times, became uptight due to Christianity, and then liberated again after the Enlightenment. 

Alfons Mucha diorama at the Sex Museum

Of course, no Amsterdam experience is complete without a visit to their infamous coffee shops. It has been ages since I smoked weed. The first coffee shop we tried was Bulldog. Bad choice, it’s a tourist trap/ I can feel it the moment we came in, but against our instinct and under peer pressure we bought their joints anyway. We smoked two pre-rolled joints and didn’t get high at all. On our second try, we went to Dampkring. The retro psychedelic interior convinced me that the coffee shop is a real hippie den. Bought the herbs, the grinders, and the rolling papers. However, I just remembered that I never roll joint myself (in Indonesia the dealer would give such value added service, gratis). My partner never rolled a joint too. I was about to ask the guy at the next table, but his eyes seem to say “Fuck, a tourist who disturbs my high time.” So I learned from YouTube. I acquired a new skill in Amsterdam.

Amsterdam’s coffee shops are prohibited to serve alcoholic drinks, in case you didn’t know. Maybe to prevent double effects of alcohol and tetrahydrocannabinol. But, unsurprisingly, they serve coffees. Not sure if it’s good to mix the sedating effect of marijuana with caffeine, but rules are rules.

We smoked the joints by the canal. There was no immediate effect. We thought we’ve been duped again. So much for the winner of Cannabis Grand Prix. We decided we were hungry, so we went to Hostaria, an Italian restaurant. It was fully booked, but the maitre’d made a room for us. After the wonderful dinner, suddenly we couldn’t stop giggling. The wallpaper patterns seemed so funny. Our mood skyrocketed.

Our cannabis induced happiness seemed to be contagious. Other than using basic Italians, such as “Buonasera! Mi scusi? Grazie mille! Prego”, we did’t remember doing anything special. However, the maitre’d seemed to be happy seeing us. He gave us tap water (in Amsterdam, not all restaurants serves free water), extra red wine, and complimentary tiramisu. Even the chef went out from the kitchen and gave us a hug when we left. Maybe we did something silly without realising it.

Multicultural Amsterdam allowed to have the best foods at the best climate. We had Thai food at Bird, several times—they are as good as in Bangkok (not quite at the same level with Krua Apsorn, but very good). The wonton soup at New Kingand the Indian curries at Koh-i-Noorare also excellent. Imagine hot rich Asian spices in a cool European climate. The best of both worlds. We skipped the Indonesian restaurants. While I heard the quality is top notch, all of them are expensive restaurants. 

We also had Peruvian at Casa Perú. The last time we had Peruvian was at the Camden Market, 2015. The highlight, as always, was the ceviche.

Our first initiation of truly local cuisine was at Albertcuypmarket, we had some kind of meatball at Cafe de Groene Vlinder for a lunch break when traversing the Europe’s busiest open air market; vendors and shops selling cheese, smartphone accessories, kitchen utensils, locks, fridge magnets, colouring mat, and flags (we bought an Amsterdam flag for souvenir: the red-black stripe-and triple Xs are appealing hues—like the Soviet and Nazi flags, but of the opposite ideology). We had pannekoek at  Pannekoekenhuis Upstairs. Dutch pancakes just the way my grandma made it (she lived through the Dutch and Japanese colonial times), only better. The queue was worth the wait. 

English cuisine may be on the lowest tier of European food culture, but they do breakfast alright. Therefore, we had one at the Breakfast Club. We had classic burgers at the Butcher in Albertcuypmarket. Another western food highlight is De Plantage, a greenhouse turned into restaurant by the zoo. We sat on one of the tables outside.

We enjoyed the true bliss of European summer in Amsterdam. The gentle breeze and warm sun on a virtually trafficless cosmopolitan city. People walk, cycle, or take the tram. The locals moved their dining table outside their homes and dined on the streets. We strolled the Vondelpark under its full summer glory. Little humidity allowed us to sit comfortably on the grass. Napped, talked, read, and watched people go about leisurely.

Dropped by Int ’t Aepjen, the “monkey bar” in the Medieval Centre. It’s not a calisthenics gym, but a bar housed in a 16th century wooden house. It was frequented by sailors from the Orients with monkeys on their shoulders. Captain Barbarossa style. Drunk beers under candlelights. Gezellig.

Int’j Aepjen

I am not much of a shopper, but the shops at De 9 Straatjeswill test any self-proclaimed minimalists not to consume. Photogenic designer stores, vintage clothing shopes, and eateries—the equivalent of London’s Seven Dials, only better since the 9 streets have canals. I saw a discounted off-season Barbour winter jacket, good thing not in my size so I didn’t buy it. We went book hunting at the American Book Center and Universiteit van Amsterdam. We acquired brand new Barthes’ Camera Lucida and Mythologies as well as Sontag’s On Photography, the reading list for street photography course by Erik Prasetya. Bought secondhand Nassim Nicholas Thaleb’s Black Swan. All those books gave me conceptual shifts, so the overall costs of acquiring them (including travel to Amsterdam) yielded handsome existential profits. 

Amsterdam is the most liberal city in Europe. That’s high liberalism. Represented first and foremost by sexual freedom, because— as Oscar Wilde said—“Everything in the world is about sex, except sex. Sex is about power.” After all, the independent Netherlands was born out of an uprising against the anal retentive Spanish Catholicism (literally, with their Inquisition). 

But of course, Amsterdam is not just “Disneyland for college students.” (Deuce Bigalow: European Gigolo—funny film when I watched in 2005, but a bit sexist, homophobic, and racist for 2017 moral standards). The Dutch mercantilism, detached from the aristocracy and the clergy, created an independent judiciary. This allowed them to compete with Spain, the then Christendom superpower. This is where the first multinational corporation was established, the VOC. Amsterdam became so rich that they became the patrons of the art and culture, from Rembrandt to Vermeer to Van Gogh (whose museum we missed, unfortunately). The intellectual enlightenment allowed them to see further and higher of sapiens’ existential conditions; they were aware of and horrified by the exploitations and sufferings of the indigenous people in the colonised lands ergo the Dutch Ethical Policy and the subsequent progressive policies. 

No wonder Amsterdam is Oliver Sacks’ favourite city. The canal city was where he popped his cherry (England, even London, was relatively conservative and homophobic when he was young). But also, the city is not just about vulgar distractions and sexuality.  Here you can have intellectual stimulations by immersing yourself in high cultures and satisfy your basic instincts, tumbling into abandon. You can have both Apollonian and Dionysian enchantments within less than 30 minutes walk or cycle.

On the last day in Amsterdam, also our last day of our Eurotrip 2017, we had breakfast at Little Collins. It was Saturday and, seeing the ease of Amsterdamers—how they walked and cycled around, sitting and talking and drinking good coffee with friends—made me happy but also envious. The modern citizens of the Old World (therefore old moneyed societies) know how to live. However, the queue was long for the check in of our return flight to Indonesia. The aircraft was full of Europeans with flip-flops, shorts, panama hats, and surfboards in pursuit of tropical beach for summer holiday.

To see and choose the part of the world we inhabit, despite for a brief instant. A reminder of how privileged I am—we are—to be travellers.

Canal and bicycle

Glow

Glow is like Mickey Rourke’s the Wrestler but on steroids—I mean estrogen. It is a manifestation of Roland Barthes’ the World of Wrestling. Wrestling is not a sport. It is a spectacle.[1]

 

I am not into escapism stage drama offered by wrestling as spectacle, but I love the real life drama that lies behind the scene. The personal struggles of each character, the wrestlers, are relatable. A struggling brunette actress who is unable to find a role that satisfies her ideals (female roles in the 80s were mostly unimportant, often eye candies only), a blonde actress who gave up acting for the financial security of marriage—but later disillusioned by her unhappiness, a black stuntwoman whose career is stumped due to her lack of acting skills, a British immigrant from London (Bromley, actually) trying to make it in Hollywood, a limousine driving rich Jewish girl looking for fun and attention, a Hispanic girl from a family of wrestlers wanting to pursue her passion in wrestling, a South Asian girl in medical school who feels medical school is not for her, a black single mother who raised her son into a Martin Luther King scholarships recipient in Stanford, an assertive and libertine Cambodian girl, a lesbian Hispanic stripper, a former Olympic medallist with anger management issue, and a teenage Goth with daddy issue.

 

Then there are the male characters, fragile and vulnerable. A talented grumpy insecure old B-movies director, a trust fund baby producer whose only obsession is wrestling from a Republican family (with a homosexual butler/best friend from childhood who loved him albeit unrequited). A predatory local TV director and a spineless TV executive.

 

The wrestling characters are offensive: the Welfare Queen (an African American fat woman who lives off benefits), Beirut the Terrorist (an Indian, but portrayed as an Arab—because all Asian look the same to American) and Fortune Cookie (a Cambodian, but portrayed as Chinese—again, Asian faces), Britannica (British accent sounds smart, just give her a pair of glasses). The diversity of the ‘offensive’ wrestlers is then juxtaposed with Liberty Belle as the representative of the ideal of an All-American-Woman  (a smoking hot mother with Southern drawl accent who voted for Reagan—but most importantly, she is blonde) to demonstrate the paradox of America as a melting pot with a strong culture of whitewashing.

 

The off-stage and on stage characters are not-so-subtle commentaries on the deep rooted sexism and racism in America. Therefore, I think Glow is one of the ultimate art house films on liberal feminism. It is about the struggle of women in search of empowerment and reinvention of identities. As a man, the film appeals to both my inner ape and intellectual: hot girls of diverse ethnicities embracing their sexuality and strong personalities.[2] Glow is objectifying and ‘subjectifying’ women at the same time. An acknowledgement of ‘girl power’: girls come in different shapes and sizes. Each with their personality, preference and emotional baggage, must navigate a white men’s world. I found Glow satisfying for my inner Steppenwolf.[3]

 

If you’re among the 80s generation (which I am not—not that old), when the Cold War was at its height (cue Zoya the Destroya) and spandex was still fashionably sensible, you will find the cinematography and music scores nostalgic.

[1] R Barthes, Mythologies (Vintage, 2009), 3-14

[2] My favourites are Britannica (yes, I am a sucker for British accent—they do sound smart for me) and Fortune Cookie (I am also a sucker for oriental looks).

[3] H Hesse, Steppenwolf (Penguin Essentials, 2011)

Salihara Street Photography Course 2017

I took Salihara Street Photography course in 2017. I got the information from Instagram’s  sponsored ad. It was a rare moment when Instagram ad algorithms actually pushes something that add value to my life.

 

The course was coached by Erik Prasetya. I did not know him before, despite he is one of Asia’s most influential photographers. I just learned the fact only after I did my research on the course.

 

I browsed his portfolios first before reading about his background. I loved his works immediately, even before I learned that he’s a big name in street photography. I am always wary of awards and titles. While they are indicative on the quality works, awards and titles have the tendency to turn anything into a competitive sport. As in any competition, you can win because you are that good or simply your competitors are that bad.

 

I am not saying that awards and titles as well as competitions have no merit at all. They are useful for filtering information overload, to narrow down choices. But we need to keep in mind they are ‘tools’ of institutions. Their reliability is dependent on the legitimacy of the institutions which provide them. And in a less developed country (i.e. Indonesia), there is a high chance that institutions are not matured enough to be consistent in quality standards.

 

I have seen photographers who advertised his or her credentials when making a photography course. Winner of photo competitions, a high end camera brand ambassador, a magazine’s photographer of the year, etc. However, when I look at their portfolios, they are technically stunning but, I think, bland.

 

But Erik’s pictures are different. He can capture the beauty of middle-class and Jakarta, two banal subjects which loosely represent the worst of capitalism and consumerism. His works are not just pleasing to the eyes and indulging senses, but captures and touches our ‘soul’.

 

I have limited references on Indonesian photographers. Therefore, it was a rare chance to learn photography in Jakarta from a photographer with such depth. So I decided to make the investment in enrolling.

 

I do not have the ambition to become professional photographer. However, I want evolve as a photographer. I want to grow beyond taking ‘instagrammable’ pictures, beyond banal platitudes of getting ‘likes’ and surface level photographic beauty.

 

The course consisted of classes of instructions and discussions, photo hunting sessions, and creating photo essays.

 

Instructions and Discussions

 

In the classes, Erik explained the theoretical formula for street photography (facial expression, juxtaposition and metaphor). Apparently street photography is more than just ‘on the street photography’. To have all the three elements in one frame requires skill and luck.

 

He also spoke and discussed about his perspective and sensitive observations. The thinking process behind his art—coined as ‘Banal Aesthetics’—is captivating.

 

Street photography, unlike photojournalism, does not rely on capturing highly charged subjects such as war, famine, or political unrest. Therefore, the ethical issues mostly revolve around the privacy of the subjects. Street photography often requires discreetness to acquire the candidness of the moment. Nevertheless, when the shutter has clicked, the subjects are likely to notice the photographer. It is important to make the subjects feel comfortable, for ethical  and artistic (even legal) reasons. Erik has a good tip for photographer: be stylish and good looking so people are more welcoming.[1]

 

Well, we can learn to be stylish. But not everybody is good looking. Maybe good looking can be substituted by being charming?

 

The case studies on ethics in photography that we discussed, among others, was Kevin Carter’s Pulitzer winning photograph of a starving Sudanese child waited by a vulture. The photograph helped in drawing more international attention to the crisis in Sudan. Nevertheless, when a photographer photograph something, he or she made a decision not to intervene. Therefore, arguably, photographing is a passive form of endorsement. Carter committed suicide in 1994, the film ‘Bang Bang Club’ portrayed that he felt guilty and became depressed for not helping the child.

 

Erik did not photograph the 212 Protest, because he is not willing to passively endorse a regression in liberal values.

 

Photo hunting sessions

 

In street photography, we need to go beyond ‘exoticism’. I am mostly a travel photographer. Therefore, it is difficult for me to move away from acquisitive mindset towards novel and unfamiliar subjects/objects—which are a plenty when I am travelling.

 

On the other hand, street photography is, well, photography. I think the foundation of photography is to capture subjects that stimulate the interests of the photographer. Even if the subjects are neither novel nor unfamiliar, as long as they arouse the curiosity to observe deeper, I believe the photographer can produce a captivating image.

 

We are naturally defined by our interests. That is why photography projects a strong sense of individuality. For me, photography even produces a feeling of connection with the photographer. When I look at a photograph, I feel as if I am relating with and interpreting the photographer’s perspective of the world. Just like reading a writer’s words.

 

The photo hunting ground was Jakarta. We went to Kota Tua (Jakarta’s old town district) and Jakarta Mod event in Senayan. Just because I live in a city for most of my life, does not mean I can’t find anything novel, unfamiliar and interesting.

 

Kota Tua

 

The last time I visited Kota Tua was in 2010. It has always been a popular photo hunting spot in Jakarta because it has the highest concentration of the Dutch colonial buildings. At that time, however, most (if not all) of the Dutch colonial buildings were in such a sorry state. They were all crumbling. The city government does not seem to have any preservation programme of the historic site (or the programme was simply not implemented effectively). If you want to go inside of any of the buildings, you have to pay unofficial entry and photography fee to the local thugs. In my memory, the associated smell of Kota Tua circa 2010 is of urine.

 

2017 Kota Tua is revamped. I can see the city government led by Governor Ahok has done better job in implementing the preservation programme. The colonial buildings are refurbished and became fancy new restaurants, cafes and exhibition galleries. The main square is more family friendly—which means more middle class Jakartans are coming in.

 

I am all in for preservation of historical sites. However, at least in this case, the preservation also means gentrification. I am wary of the hipsters, but I am much more wary of the blandness of the middle class. 2017 Kota Tua is like London’s Leicester Square. Kota Tua square is now filled with costumed mimes, floating trick artists and caricature illustrators. Onthel (vintage bicycles) rent businesses have been there for as long as I can remember, but now they are multiplying and the bikes are brightly painted with pastel colours. This is to create high contrast with the grey old buildings. The ultimate purpose: selfies or selective colour photography trick—which everyone seems to be doing there.

 

Kota Tua square is also a reminder of how homogenic Jakarta is. Although Indonesia is ethnically diverse and Jakarta is the melting pot for Indonesians, it is difficult to spot the physical difference between ethnic groups—except for the East Indonesians and the Chinese Indonesians. Trying to differentiate the Javanese and the Bataks physically is like comparing the English and the Scandinavians.

 

The homogeneity of Jakarta extends to style. As a conservative society with limited references, Jakartans have low tolerance to non-mainstream individual style expressions. Therefore, there is little variety in terms of fashion. It is typically easy to spot which socio-economic group a Jakartan belong from the way they dress and where they hang out.

 

The sights of 2017 Kota Tua were new and unfamiliar for me. Nevertheless, it did not stimulate my curiosity. Thus, I cannot use the exoticism perspective.

 

2010 Kota Tua, I think, was charming in a raw derelict way. Anak kampung (children from nearby poor neighbourhoods) were playing football, indie band members were doing photoshoots for their album and couples their prewedding photography, punks and gangsters congregated with their comrades. It was my early day of learning photography—I still used a point and shoot. My references on photography was much more limited compared to now, but I can be sure that I would have been more interested in 2010 Kota Tua even now.

 

This confirms that I still hold on so much to the exoticism perspective. I still rely on my voyeuristic impulse in photography. I am interested in ‘lower class’ 2010 Kota Tua, because I am not a member of such class.

2017 Kota Tua

 

Senayan

 

The Jakarta Mod event was more interesting. Maybe because the subjects are segmented.

 

The interesting thing about Jakarta mods are not their obsession with Vespa mopeds, but their zeal in adopting the fashion style—which are geared for London weather. I saw many Jakarta mods proudly wore their vintage overcoat and jacket in 35 centigrade/80% humidity weather. I was sweating in plain t-shirt and shorts, so I imagine how wet they were inside.

 

It was a hot and humid day.

On obtaining juxtaposition, Jakarta is a random city. Based on my experience living here for more than 30 years, juxtapositions are almost everywhere. In fact, some juxtapositions are so common here they are perceived as the norm. I had to live abroad to be able to see Jakarta’s peculiarities.

 

Nevertheless, encountering juxtaposition and capturing it with a camera in a split second is the photographic skill that separates the professionals from the amateurs, the trained talent and the rookie. Great photographers are borderline clairvoyant in anticipating moments. Their years of experience seem to allow them to intuitively position themselves at the right place and at the right time. They have mastered the art of waiting and thinking.

 

I did encounter many juxtaposed moments both in Kota Tua and Senayan, but I failed to capture them.

 

Needless to say, I fell behind during the photo hunting session. I want to blame Jakarta for this failure. After all, Brandon Stanton of Humans of New York also failed in photographing Jakarta.[2] But some of the photographers in my class succeeded.

 

Erik consoled me that photography requires the elements of luck and patience. We only had half day. It took him  at least 5 years to photograph Jakarta and published them on his newest book Women on Street.

 

The experience made me insecure. Nevertheless, I was venturing beyond my comfort zone. I took the required path to evolve.

 

Additionally, I reconfirmed that I do not love Jakarta. Erik can photograph Jakarta well because he is in love with the Big Durian. He migrated from Sumatra. Despite Jakarta is a third world city, it is still the capital. Compared to Sumatra, Jakarta (and Java) is much more developed. Maybe as a born and bred Jakartan, I am unable to appreciate that fact.

 

Of course, I do not mean to be condescending to Erik or other Indonesian urbanisation migrants (commonly referred to as ‘utusan daerah’—region’s delegate[3]). There is more to Jakarta that attracts Erik than the bright lights and the Indonesian dream.[4] Jakarta is a peculiar city, an acquired taste. The city can be artistically stimulating if you can cope with its randomness. Also, Erik is not just an artist, he is a political activist. He participated in many protests against Soeharto’s dictatorial New Order regime. What better place to do political activism than the capital.

 

In fact, it may be me who is shallow for not being able to better appreciate Jakarta despite I can live relatively comfortably here.

Photography and Literature

 

Erik and the other 2017 class participants are also interesting individuals. We discussed topics beyond photography. From politics, literature, films, social and anthropological issues to personal life stories. Every class was enriching. I gained many references from them. I read books recommended by Erik (and a book about him), i.e.:

 

  • Mythologies by Roland Barthes;
  • Camera Lucida by Roland Barthes;
  • On Photography by Susan Sontag;
  • Estetika Banal & Spiritualisme Kritis by Erik Prasetya and Ayu Utami; and
  • Cerita Cinta Enrico by Ayu Utami

 

From the discussions and the books, I finally understood what makes certain photographers, such as Erik, able to create a depth, to give ‘soul,’ in their pictures: their taste. Technical skills of photography will make beautiful pictures. Depth or ‘soul’ is achieved with the sophistication of the photographers’ mind. As Erik pointed out, a photographer is a craftsman if he or she can create beautiful pictures. However, it takes an artist to create art.

 

I notice that one thing that indicates sophistication of the photographer’s mind is the ability to articulate their ‘art’ in words. The photographers I look up to are also writers. They have published good (even great) books or at least run quality blog.

 

I learned that ‘a picture worth a thousand words’ adage does not exempt a photographer in articulating their thoughts. It is true that words are more limited in describing a matter since they are only representation of it. However, words give form to enable better understanding on a matter. The more complex our linguistic skills, the better we are in articulating our thoughts. Subsequently, we become better in expressing and sharing them. And art is about expression and sharing.

 

The ability to articulate thoughts is also essential for the development of photography. Photography, as any work of the mind, is an intuitive process. Nevertheless, if such intuitive process can be translated—albeit only to certain extent—into a reasoning explanation, the next generation can benefit from precedents and a more methodical approach in learning photography.

 

Erik’s opined that Indonesian street photography scene is not living up to its potential. He believes that it is not because of the economy. Sri Lanka street photography scene is lively and it is also a less developed country. Erik believes the main factor in such lethargy is the lack of precedents. Many senior photographers do not produce sufficient books on photography. Precedents allow aspiring and new generation photographers to shorten their learning curves and they do not need to develop the established practices from ground zero over and over again.

 

As someone with ‘standing on the shoulders of giants’ image tattooed on my forearms, I agree with Erik.

 

Erik is a lecturer in Institut Kesenian Jakarta. He is invested in developing the street photography genre in Indonesia. He mentors his students well. Patient, approachable and encouraging, even towards difficult and entitled individuals. I am writing this entry as a testimony on how this course has added value to my life and I would recommend next courses for anyone interested in the art of observation.

 

I don’t think I have succeeded in becoming a street photographer at the end of the course. Nevertheless, it is my deficiencies that I need to fix by investing more time on my photography skills. The effort I undertake in the course itself is rewarding. I believe I have learned much and improved as a photographer in general.

 

Erik holds regular meetups for Street Photography Course alumni (2016 and 2017 classes) and created a Whatsapp group. On a critical note, I decided not to participate because there are more noises than productive discussions in the Whatsapp group. I hope this alumni group can be better curated and moderated.

‘How to take better wefies’ is a part of the curriculum. Not. Photograph by Danny Ardiono.

[1] Erik is in his 60s but you can tell that he is fit from his built (he is a wall climber). He always wear fedora hat and scarf as his signature style. He said it helps to make him look less threatening so subjects are more welcoming to him.

[2] Erik Prasetya held a group discussion at Komunitas Salihara on why Stanton failed in photographing Jakarta. Unfortunately, I did not attend.

[3] Indonesians often refers Jakarta as the capital (ibukota), while the rest of Indonesia is the regions (daerah).

[4] I think the contemporary Indonesian dream can be summed up by these external material symbols: big house, domestic helpers and baby sitter, fancy cars with chauffeurs, Western or Japanese restaurants, fast fashion, shopping malls, the newest smartphones and travel pictures abroad on Instagram.