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Terima kasih

Jakarta's "old city"

Jakarta's "old city", known also as Kota, clings tightly to its rich neoclassical heritage, and offers both locals and tourists alike an authentic and reminiscent glimpse into the country's unique past.

The Jakarta Museum of History.Stretching from the ancient spice trading harbour of Sunda Kelapa to the pearly buildings of Fatahillah Square, Old Jakarta stands as one of the city's sole reminders of three centuries of Dutch colonialism – and what a stunning reminder it is. Such preservations of the past are a rare find in a city saturated with urban infrastructure, mega-malls, and conurbation conveniences.

Right in the heart of Old Jakarta lies Fatahillah Square, a simple but eye-catching courtyard that showcases the best of the Dutch Empire's architecture and artifacts. The colonisers named the area Batavia, and in its heyday, the square was the commercial and administrative nucleus of the new rulers.

Today, the tiled square is free of traffic, and the tree-lined area is decorated with a smattering of abstract concrete spheres and antique street lights, which makes for an entertaining and relaxing resting spot to people-watch. In the centre of the square is a line-up of official Kota Tua bicycle-taxis (ojeks) ready to peddle customers to their destination.

The area has attracted a sizable presence of young locals who keep the vibe energetic.
"The younger generation, those in their early twenties and teenagers, they appreciate this old town – especially the creative industry people. They always ask me, 'Can we live here?'," says co-founder of Jakarta Old Town Kotaku Ella Ubaidi.

The youth wander in packs throughout the square's nooks and crannies, enjoying the ojek services and posing for a stream of photos for their friends' cameras and cell phones.
At the head of the square is the Jakarta Museum of History, a grand building that boldly displays "Gouverneurs Kantor" (Governor's Office) above its main entrance. The 37-room building, surrounded by Portuguese cannons, was the original Town Hall for Batavia in the 1700s. Today, it displays memorabilia and antiques from several of Jakarta's foreign influences.

The most breathtaking part of the collection is the striking teakwood furniture from the Dutch renaissance period. On the first level there is a handsome oversized table set at which the council deliberated the fate of convicts, as well as a pair of six-metre high filing cabinets that once stored state records. The balcony at the top of the staircase provides the best vantage point to view the square and the chorus of Indonesian flags that are suspended from its buildings.

The Museum of Fine Arts and Ceramics.Also overlooking Fatahillah Square is the Museum of Fine Arts and Ceramics, which was not only the former office for the Council of Justice but also functioned as military barracks. The stunning columnar-style building is bordered by elegant white pillars and a moat of palm trees. Its gapped-tooth floorboards and spiral staircases create the perfect environment for the museum's extensive collection of porcelain, sculptures, glass paintings and art from around Asia and Europe, many of which date back to ancient times.

The award-winning Batavia Café sits at the base of the square, and is the only business that is open through the evening (minus the smoky billiard room next door). The two-story restaurant/café/bar elegantly meshes Chinese décor, including red lanterns, art, and entertainment, with its regal architecture and antique furniture collection. There is an eye-catching wall behind the stairs that is choc-full of an eclectic collection of black and white photographs – featuring pop-art, political figures, celebrated faces and even fetish-style images. The collection extends through the upstairs bathrooms also, where Audrey Hepburn's sly smile greets you at the door. The upstairs bar is full of shimmering chandeliers, heavy drapes, candle-lit tables, and ceiling-high floral arrangements – a combination rich in romanticism.

Just to the west-side of the café stands Wayang Puppet Musuem – the former site of Batavia's Protestant Church. The museum is filled to the brim with an enormous and eclectic collection of wooden and leather puppets and dolls from all around Indonesia and Southeast Asia. The collection at the Wayang Museum inserts a more traditional and indigenous touch to the Fatahillah Square. I am told that if you visit on a Sunday morning you can witness a live wayang kulit, a shadow performance with leather puppets.

The town of Batavia expanded vigorously in the mid 1600s due to its proximity to Sunda Kelapa harbour, the major port for the booming spice trade at the time. Even to this day, the harbour boasts the world's last functioning sailing fleet. The daily activities of the waterfront action are truly a sight to behold; the scene unfolds as a virtual re-enactment of centuries past. Rust-stained pirate-like boats encircle the port's perimeter, while hundreds of tanned dockers tirelessly transport their goods from boat to land and land to boat on a flimsy plank barely forty centimeters in width. Their backs are draped in layers of thick fabrics to assist in the manual transfer of heavy loads.

A young slight boy who perches on the wharf routinely hands out a single bamboo stick to every one of the stream of workers who enters the Suderhana Jaya boat – they are then counted to calculate the total quantities on board.

The workers quietly dine along the seaport's assembly of warungs that offer rice, noodles, and deep-fried treats from within tents strung with bananas and rambutan.

It is here that I discover that I too, as a blatant western-looking westerner, am also an attraction for the workers at Sunda Kelapa. One truck driver asks me if I will pose for a photo with him for his 'collection'. The driver's wares are another nod to the harbour's history – his truck is transporting crates of Jamu, traditional Indonesian medicines produced from leaves, fruits, flowers and roots.

The nearby Bahari Maritime Museum offers respite from the heat of the dock, and is located in the original storage warehouse built by the Dutch East India Company in 1652 for stocking their commodities. The three-storey warehouse comprises several buildings, each complete with iron-barred windows curtained with fading blue-shutters. The stooping doorframes between the buildings are the result of a gradually rising coast level. The rustic buildings are filled with models of sailing boats, larger-scale vessels, navigational apparatuses, cannons, and stunning photography of the harbour's days gone by. A 30ft long boat from Papua can be found in the rear building. Just south of this is the VOC's Uitkijk post - the port's lookout tower. The site under the tower was where prisoners were jailed at the time.

The Batavia Café and a 30ft long boat from Papua at the Museum Bahari.

Old Jakarta town also provides many surprises- just driving around the area you can see flashes of the past – be it the large Dutch Empire's great V.O.C sign on a building side, or the famous Dutch drawbridge over the Kali Besar that was used two centuries ago. These remnants are perhaps the most fascinating aspect of the old city – they indicate its profound ability to stand the test of time despite centuries of inattention and unrelenting tropical weather.

Although the area has infinite historical value, aesthetically, many of the structures of Old Jakarta leave much to be desired, and it is no secret that the area is in dire need of attention. Countless buildings, despite being categorised as heritage sites, are revealing dilapidation that has all too easily been overlooked in the exuberance of Indonesian independence. At Fatahillah Square, just mere metres behind Café Batavia is a poignant example of such disregard – the hollow, windowless building highlights the severity of the area's ruin. This part of Old Jakarta does not make the postcards.

It seems the former hub has been deserted in favour of the postmodern gleam that oozes from new Jakarta – and the cracks are showing through. While its days are by no means numbered, make sure you visit this capsule of Indonesian history while you still can.

From Batik-Ulos Hybrids to Digital Paintings

Text by Bambang Asrini Widjanarko Photos by Agung Tabiat

The Indonesian people's strong creativity is an effective way to face the global economic crisis, as can be seen in design houses and graphic studios that offer solutions through local products.

Have you ever imagined that a Batak woven shoulder cloth, ulos, which tend to be rather hot and scratchy because they're made from traditional fibers, could actually be both comfortable to wear and attractive to look at? Yes, it's possible, if it has the touch of a creative designer.

And not only ulos, but batik as well has been "cross-bred", in a modern A-line mini-dress with an upright collar that you'd be proud to wear at an evening party.

These local products, with fascinating designs employing clever stylistic combinations, come from the Kama Art Works, which refers to them as Batak-Java pieces in an Ethnic-Romantic style.

We even see a three-piece women's ensemble that combines ulos weaving and batik cloth – a vest, blouse and long trousers, perfect for a cocktail party. As well as using this Batak-Javanese combination of fabrics, it is also clearly inspired by Arabic and Chinese lines and forms, giving it a very sleek, elegant look overall.

A similar combination is applied in men's formal attire, in a design that matches the ulos motif of vertical stripes, combined with antique Javanese batik.

Kama Art Works, in Kemang, South Jakarta, also works with another production design house to create classical Javanese furniture with paintings in various motifs "printed" on the surfaces. Partition screens, tables and chairs become unusual and enticing, with flower and tendril motifs seeming to emerge from the teak. In some pieces, even photographic images are crystallized into the natural character of the wood; but it seems that these pieces are meant more as art objects than as purely functional furniture to sit on or eat at.

For these designers, creativity seems to arise in inverse proportion to the severity of the economic crisis. They have agreed to remain optimistic and keep creating new works. After all, Indonesia's culture doesn't depend solely on natural resources, or on quickly consumable goods.

And as designers dedicate themselves to creating new products that are grounded in our traditional heritage, the government should help promote them. The private sector is eagerly awaiting the details of the government policies proclaimed this year to provide greater growth opportunities for the creative industries.

Getting back to our local designs, we also find a wide range of more popular merchandise, such as trendy T-shirts with catchy slogans to appeal to young people who fancy themselves "funky".

Even more inspiring are the digital print works and graphic designs for books. Kama Art Works won a 4th Asian Print Award in 2006, and a Gold Award in Shanghai. They have also worked with Kisah Publishing to produce book designs, employing a very interesting printing technology. This is one of their leading product lines: art books, CD covers, company logos and other attractive designs, printed in a characteristic style that combines colors, patterns, and the creativity of local cultures.

The owner and creative director of Kama Art Works, Rotua Magdalena P Agung, notes that all their design works are ready to use and mass produced, though certain works are produced in limited editions. Though she draws a distinction between interior design elements such as furniture, wall decorations and photography, and the "fine art" to which she continues to devote herself, Magda believes that one important part of appreciation for the existence of art is the continuing effort to bring art works into daily life. In her view, art is successful when it can be both appreciated functionally and enjoyed esthetically.

Magdalena Pardede recently held her sixth solo exhibition at the Hotel Four Seasons, Jakarta, presenting her digital paintings with the theme "Unforgotten Paradise". She says her digital paintings are the result of her struggle to put forward a style of traditional art wedded with modern art, which the art community usually refers to as "contemporary" art. Her digital paintings offer the certainty of digital printing technology combined with artistic elements of graphic design and photography.

For the digital photography works, her design production house often collaborates with senior photographers in various commercial or non-profit events. Part of Kama Art Works, Magda says, is Kama Budaya, which is committed to creating events or producing special books that trace the careers of Indonesia's artistic and cultural maestros. For example, in 2008, they took part in arranging a performance by an elderly yet still lithe virtuoso of classical Cirebon dance, Mimi Rasinah.

Indonesian society clearly has the creativity needed to face the global economic crisis; our local designers have proven this by creating a variety of products that offer an impressive range of unusual solutions.

Tighter Screening, and the Best Are Chosen!

Text by Bambang Asrini Widjanarko

There may be a global economic crisis, but the art market is still going strong and local auction houses have their own strategies.

Two Geese by Lee Man Fong.The crisis has not dampened the enthusiasm of Indonesia's many art aficionados. One or two exhibitions were held in Jakarta almost every week in February, and we still hear about auction houses offering top-quality pieces every month. Undeniably, though, the volume of transactions and the number of works on offer have declined. The art boom seems to be a thing of the past, at least for now.

But as the old proverb has it, if you want to become a real sailor, go sailing when the waves are intense. If you prefer to wait until the sea is calm, forget your dreams. The market is now undergoing a "correction" and buyers are "highly selective". Art lovers know that this is the time to show your true appreciation of fine art by choosing only the best. Genuinely qualified artists are still having their work shown by the galleries, which refuse to give up. And local auction houses are also getting into the act.

One of the most aggressive local auction houses is Masterpiece, which regularly shows works by artists in its three auction lines: Masterpiece, Heritage and Treasures. This group has its own strategy to remain steadfast and is ready to "ride the waves".

Masterpiece applies a pricing strategy with estimates that are not too high, and provides conveniences such as accepting credit card payment without any surcharges. And the works it offers are more carefully screened, by well-known artists, and worth collecting. This auction group also provides premium discounts: if you win the purchase of a work through an open bidding session and pay within a week, you will receive a 2% discount. If you win with a written bid and pay within 48 hours, the discount is 4%.

Two Geese by Lee Man Fong.So what's their strategy for breaking into the foreign market? The island nation of Singapore, the one and only lasting "hot plate" for collectors in Asia, and even Europe and America, for our works, is ready and waiting.

From 6 to 8 March, the Masterpiece auction house is holding an auction at the Sheraton Towers Hotel, Singapore, with a total of 300 lots, comprising Southeast Asian, Chinese contemporary, and modern art pieces.

It's predicted that interest in the old masters will remain strong, since these are quality pieces that provide stable, low-risk investments. The auction in Singapore is offering some of the best works of Affandi, Hendra Gunawan, S. Sudjojono, Widayat, Lee Man Fong, Antonio Blanco, Popo Iskandar, and Sunaryo.

Equally exciting, the preview sessions (Friday–Saturday, 6–7 March) feature works by such rising stars as Agus Suwage, Putu Sutawijaya, Rudi Mantofani, Galam Zulkifli, Dipo Andy, Dede Eri Supria, Ay Tjoe Christine, Eko Nugroho, Alit Sembodo, Jumaldi Alfi, Gede Mahendrayasa, Saftari, Yunizar, S. Teddy, Ugo Untoro, and M. Irfan.

The Chinese contemporary art includes works by the Luo Brothers, Yang Qiang, Liu Hong, Xiong Yu, Yin Kun and Tsui Tin Yun, while the Philippine artists represented are Ramon Orlina, Rodel Tapaya, Ronald Ventura and Donovan Phity, and from Thailand, Natee Utarit. Works by artists from India, Vietnam and Korea are also on offer.

Among the works being promoted as highlights by Masterpiece is a piece by Galam Zulkifli entitled "Ilusi # 21, The Real of Imagine", which portrays two pop music legends, Freddie Mercury and John Lennon, in a 200x200cm painting in acrylics.

Threat of the TV by Eko Nugroho.Galam Zulkifli is the only Indonesian artist who won the Top Five Philip Morris Indonesia Art Award in 1999 and 2003. In this work, Galam reminds us how these two great singers shared a vision of defending the disadvantaged.

Eko Nugroho, shown in "Ancaman TV" (Threat of the TV) (lot 130), has taken part in several international shows, including at the Japan Foundation, Tokyo (2004–05). Eko's works focus on the world of contemporary politics and social issues, and have a humorous and highly personal character.

The auction also features works by the old master, Affandi. One of his best pieces, "Adu Ayam" (Cockfight), which is on offer, reminisces about Affandi's life when he was just starting his family. Many of his works tell about difficult struggles, poverty, and wasted lives.
The global economic crisis can affect any business sector, but the art market seems to be holding up fairly well. Is this an anomaly in the art market? We'll see this month in Singapore.

Ubud’s Culinary Queen

Text by Janet DeNeefe

ibu canderiI thought it would be an ideal time to take you on a jalan-jalan down Ubud's 'culinary' memory lane and honour one of the grand dames of our village cafes. Ubud has been the home to a wok full of Balinese mums who have been satisfying the hearts and appetites of international visitors for many years. These 'domestic goddesses' have helped shape the eating style of Ubud and set it on its dining feet. Their recipe for success has been simple: home-cooked food served with lashings of gracious Balinese hospitality. I often feel shy to be a non-Balinese expounding knowledge on Balinese food amongst these spice divas. I bow to the humble and lasting contribution they have made to our beloved town. And writing this article took me into a time-honoured space that also made me somewhat nostalgic. That's what memories do, I guess.

Enter Ibu Canderi. Canderi's warung was established by Ibu Canderi in the late sixties on Monkey Forest Road when Ubud was still painted in subtle shades of shock after the devastating communist coup only a few years before. Ibu Canderi had her own tale of tragedy to tell, with the loss of her husband during that time. She was still carrying the youngest of five children, a mere baby of a few months, on her hip when she unexpectedly became a widow. I remember hearing her story in the eighties, while sitting near the faded black and white photo of her late husband that hangs in the restaurant to this day. Hard to believe a blood-bath of this nature could happen in Bali.

But I digress. Ibu Canderi opened the doors of her family abode to cater for the new breed of tourist visiting the land Jawarhalal Nehru fondly called "the morning of the earth"; you know, that hippy-type who was looking for the 'real' Bali in flowery kaftans and bare feet sharing lots of love. Canderi had trained as an elementary school teacher but work had dried up after the coup. "We had to eat" she said. So she took the plunge and opened a homestay and restaurant. The only other places to stay, at that time, were Hotel Tjampuhan and lodgings in the palaces.

Canderi's was a simple eatery but in those days all eating places were simple. It was set in the family compound, in the living and breathing quarters of their traditional home, and the surrounding four rooms were available for rent. The restaurant lay in the courtyard and spilled onto the terraces of each room or wherever there was space. The staff was a mix of local Ubud folk and her own offspring; all sporting that laid-back quality that was actually even more laid-back then. The wonderful ambience reflected the warmth of this tiny mother whose gentle demeanour was as soft and loving as a hug for the homesick tourist. We all loved going there and we all loved Ibu Canderi. The food was a quirky mix of Balinese fare and tourist food that had been introduced by international guests who had stayed there: jaffles, guacamole, tacos, chapattis and garlic toast vied for attention with black rice-pudding, tofu fritters and Balinese soups. But despite the flavour, it was all cooked with love.

By the mid-eighties, Canderi's was already an Ubud institution. Ketut and I spent many nights sitting at the bar on rustic bamboo stools, chatting and laughing with Ibu Canderi while watching the action in the kitchen (albeit somewhat slow) and the comings and goings of the guests. There was always someone strumming a guitar under the stars and usually a group of Indonesians and other nationalities playing chess, cards or whatever, in the dimly-lit corners. In fact, nighttimes at Canderi's witnessed the most spirited, charismatic locals that Ubud will perhaps ever see at a time when this artist's refuge was slowly re-awakening. The wild and hilarious (late) Armawa spent every other night there, waxing lyrical with Silvio Santoso, creator of the Ubud Pathfinder map, (where are you, Silvio?). Pranoto, our favourite artist, took turns on the guitar while Nyoman Suradnya, Frank Wilson (before the white robes), Sarita Newson, John Schumann of Redgum fame and assorted local eccentrics gathered in this Alice's Restaurant-type haven, drinking arak, rice wine or mic jus (mixed juice) and chatting about life with whoever chose to listen. Redgum's best seller, "I've been to Bali too", honoured Canderi as part of the Ubud – I don't want to go home – experience.

Well I wandered off to Ubud, just a little up the track. One week there, didn't want to come back. Listening to Gamelan, playing guitar. Canderi's, tacos, Hotel Menara, two-month visa, I've been to Bali too. I was told that even Covarrubias stayed at Canderi's (well, whoever he was, he was Mexican), as well as countless writers, musicians and artists. Gosh, don't we all miss those days.

Ibu Canderi made everyone feel at home in a caring, open-hearted way and isn't that the single, most important attribute of a great host? In fact, it wasn't the food that made Canderi's special; it was simply Canderi. She heralded the new breed of "Ibu" in Ubud, a new type of businesswoman who made friends with people from all places, all walks of life.

I asked her about the tourist in those days. "Were they different back then?" "Oh yes", she said wistfully, "their hearts were much closer to us."

Nowadays, at the age of 75, Canderi still runs her restaurant. And after all, why should she let it go? When I paid a visit the other day, she was still perched behind the desk, surveying the guests with her tender expression. Her restaurant is very much an old-Ubud experience with photos on the wall showing various guests who have visited and that feeling of eating in someone's house still lingers.