Archive for November 2010

Islamic Fashion Goes Stylish in Indonesia

JAKARTA, KOMPAS.com - Long known as feminine and demure, Indonesia’s traditional kebaya is headed for a makeover at the hands of innovative designers. Growing demand for stylish yet still modest fashions in the world’s most populous Islamic nation is helping power efforts to bring Islamic fashion into the modern age, a movement symbolised by changes to the iconic kebaya, a blouse-dress combination.


Fun prints, intricate detailing, colours so bold as to be psychedelic and a mix of delicate lace all graced the catwalk at the recent Jakarta Fashion Week. One designer even paired the kebaya with red-and-yellow striped tights.

“I think it’s a good presentation because if you wear Muslim clothing like this, it’s not necessarily boring,” Jakarta Fashion Week project manager Petty Fatimah told Reuters.



“You can definitely expect to see more Islamic fashion in the future and it is for everybody. If you’re not a woman who wears Islamic clothing you can still wear it.”

Though Islamic clothing is not mandatory throughout much of this vast nation, many women struggle with the desire to be both fashionable but dress in line with Islamic principles that rule against showing hair or skin. In a nod to local mores, U.S. First Lady Michelle Obama donned a headscarf on her visit to Jakarta’s Istiqlal mosque earlier this month. 


But wearing the headscarf is not mandatory and regulations concerning clothing are fairly liberal save for Indonesia’s West Aceh district, which is the sole upholder of sharia — or Islamic — law. Earlier this year, authorities in West Aceh began giving away long, loose skirts to Acehnese women wearing tight jeans.


Yet despite coming across as “sexy” to some due to its tight fit and use of see-through materials, the kebaya has managed to escape censure even from Islamist groups such as the Prosperous Justice Party (PKS), who criticized the wives of the president and vice-president last year for not wearing headscarves prior to the presidential elections.



Modern designs, muslim clothing



For those in the industry, allowing the kebaya to be reinvented paves the way for designers who want to introduce modern designs into Muslim style clothing. Themed “Styling Modernity,” models in kebaya outfits launched Jakarta’s third Fashion Week earlier this month, with 16 selected designers putting their own spin on the garment.

“If you look at the scene five years ago, women didn’t have choices. But now, it’s growing, and we have many designers who design Muslim wear,” said designer Lenny Agustin, who is known for her eclectic style. Other collections, with titles such as “Romantic Return,” “Garden Luxury” and “Catch Your Eyes,” featured billowy ankle length dresses, harem-style pants and tunic suits which still complied with Islamic clothing norms.

Keeping stylish fashion in line with Islamic norms isn’t just a gesture for traditionalists, Petty Fatimah noted. “Fashion is a big business and our population is very big. By focusing on local fashion that would cater to the local population, it is a big opportunity,” she said.


Homemaker Tuttiyah, 55, who wore a long, full-sleeved blue tunic-style blouse with black three-quarter pants, said she doesn’t feel torn between style and modesty because there are so many choices available. She wears a headscarf outside her home.

“Those who prefer the traditional version can still buy and wear that, whereas those who want to keep up with modern times can buy and wear the modern ones,” she said. “If you want to look good, if you want to look fashionable, you have to keep up with modern times and changing trends.

Indonesia's Cultural Heritage Needs Preservation

Defiant: Balinese dancers perform during a cultural parade at the New Year's Eve celebration in Denpasar, Bali, Indonesia, today - despite threats of a terror attack
UNESCO has pointed out that many forms of intangible cultural heritage are in danger of extinction. Therefore, governments, non-governmental and local organizations are encouraged to appraise, protect and utilize their national heritage in order to maintain the cultural diversity of all countries, within the overall trend of globalization.
And for Indonesia to protect the objects involved and to prevent them from being claimed by other countries, it should have a cultural heritage data center. Damos Dumoli Agusman, Indonesian consul general in Frankfurt, Germany, said here on Friday a cultural heritage data center was needed not only for data collection or archiving but also for protecting Indonesia’s intellectual property rights.
"The data center is needed to protect our cultural heritage and intellectual property rights and to prevent them from being claimed by other countries," said Damos, who is Indonesia to attend a national seminar on intellectual property rights in Bandung, West Java, on November 25-26, 2010.

     

According to Damos, the seminar was organized in cooperation with the Foreign Affairs Ministry, Culture and Tourism Ministry, and the World Intellectual Property Organization (WIPO). The World Intellectual Property Organization - created in 1967 to encourage creative activity, to promote the protection of intellectual property throughout the world - is one of the 16 specialized agencies of the United Nations.



According to Wikipedia founder Jimmy Wales, WIPO currently has 184 member states, administers 24 international treaties, and is headquartered in Geneva, Switzerland. WIPO was formally created by the Convention Establishing the World Intellectual Property Organization, which entered into force on April 26, 1970.



Under Article 3 of this Convention, WIPO seeks to "promote the protection of intellectual property throughout the world." WIPO became a specialized agency of the UN in 1974. Therefore Damos said Indonesia has been cooperating with WIPO in a bid to protect and preserve the national cultural heritage through capacity building and transfer of technology.



Indonesian cultural heritage items which have been recognized by UNESCO include  Batik, the Angklung (traditional musical instrument made of  bamboo, Wayang (traditional Javanese puppets featuring in shadow plays), Gamelan (tradition percussion music instrument from f Bali and Java). In October 2009, UNESCO officially recognized Batik as an Indonesian cultural treasure.



During a meeting of the Intergovernmental Committee of Intangible Heritage, held from Sept. 28 to Oct. 2, 2009 in Abu Dhabi, United Arab Emirates, UNESCO  made public its decision to recognize Batik as a unique hallmark of Indonesia’s heritage. In February 2010, UNESCO  awarded Indonesia four certificates, three stating that it recognized three intangible cultural heritages and one stating its recognition of the country’s efforts to preserve its culture.



The three intangible cultural heritages were batik, a method of decorating fabric with a special dyeing techniques producing specific patterns, wayang, a traditional shadow puppet play, and kris, a traditional ceremonial dagger. The certificates were symbolically handed by Foreign Minister Marty Natalegawa, to Culture and Tourism Minister Jero Wacik and Coordinating Public Welfare Minister Agung Laksono.



After the awards were given, Agung said, the country should preserve the heritage to prevent the recognition from being withdrawn.  Then at the fifth Session of the Inter-Governmental Committee for the Safeguarding of the Intangible Cultural Heritage (IGC-ICH) in Nairobi, Kenya, on Nov 17, 2010, UNESCO decided to include Angklung in its list of intangible cultural heritage.



The angklung now joins the wayang (the Javanese shadow puppet theater), the keris (the Javanese ceremonial dagger) and batik among the Indonesian representatives in the list. I Gusti Ngurah Putra, a spokesman for the Ministry of Culture and Tourism, said the government welcomed the recognition granted by the UNESCO. 



"The reason the angklung was inscribed to the Representative List of the Intangible Cultural Heritage of Humanity is because it has deep philosophical values for humanity, such as cooperation, respect and social harmony," he said.

    

In addition to the four items Indonesia now boasts on the list of intangible cultural heritage, the country also has seven sites on Unesco’s list of world heritage sites.

    
Three of them -- the Borobudur monument, the Prambanan temple complex and the Sangiran Early man site, all in Central Java -- are on the list of world cultural heritage. The other four -- the Komodo, Lorentz and Ujung Kulon national parks, as well as the Tropical Rainforest Heritage of Sumatra -- are listed as world natural heritage.
    
In the light of all these, Damos Dumoli Agusman said all elements in Indonesia should realize the importance of archiving and the national cultural heritage.
   
"We should begin to realize the importance of archiving our national cultural objects to make other countries think twice before wanting to claim them," Damos said.
     
He said the government was currently collecting data on national cultural  heritage items from Sabang to Merauke using  WIPO methods.

Source

A Delicious Blend of Cultures at Indonesia Restaurant Meradelima

Mixing different cultures is always exciting. The assimilation that occurs when people of different ethnic backgrounds meet and live together usually gives birth to an interesting blend of cultures. The descendants of 15th and 16th century Chinese immigrants to Malacca and Java, referred to as Peranakans, embody such a mix of two different traditions. 

(JG Photo/Safir Makki)
Meradelima, a restaurant situated in the classy residential area of Kebayoran Baru, South Jakarta, beautifully embodies the vibrant and colorful Peranakan culture both in its design and cuisine. 

“I, myself, was born and raised as a Peranakan,” said Lily Atmodirjo, co-owner of the restaurant.
“So when our family wanted to open a restaurant, we decided to start from something that we knew really well.” 


Established in 2004, the restaurant initially occupied a smaller building in Pondok Indah,
South Jakarta, which could only accommodate 70 guests. 


In 2009, the family relocated the restaurant to a 1950s building situated on more than 1,100 square meters of land in Kebayoran Baru. Today the Peranakan theme seems to weave seamlessly into its classic surroundings. 


The two-story building features the unique jengki design, born out of the transition from Dutch colonial rule to an independent Indonesia. 


“At that time, Indonesia’s first president was planning to develop the Kebayoran Baru area as a satellite city to Jakarta,” said Agam Riyadi, a design consultant for Meradelima. “So Indonesia’s young architects were assigned to build new houses and facilities for the area.” 


Newly independent, these architects shunned the use of the Dutch colonial building style and instead developed their own designs. 


The white facade of the restaurant features asymmetrical structures, oddly angled windows and wide eaves supported by decorative metal brackets. 

“But the roof is pyramid-shaped like a joglo ,” Agam said, referring to a traditional Javanese house. 

A neat row of golden cane palms (Dypsis lutescens) obscures the left wing of the building. Its front yard and parking area are shaded with tall and leafy mahogany trees, lush staghorn ferns climbing their trunks. 

From the parking area, a wooden deck, decorated with a red carpet and dried bamboo shoots in earthen pots, leads into the restaurant. 

Dressed in red cheongsam, the servers blend into the Oriental decor of the restaurant. 

The vast and airy chrysanthemum room in the left wing of the building sports kursi becak (becak chairs), replicas of the low and slightly reclining rattan chairs of the 1950s that resemble seats in a becak (tricycle). Across from the chairs stands a marble-topped bar featuring neat rows of Peranakan-style porcelain plates. 

“The Peranakan-style porcelain collections are different from the traditional Chinese ones,” said J. Williams, the public relations manager at Meradelima. “Traditional Chinese collections usually feature dragons, while the Peranakan-style features the hong bird [phoenix] as a symbol of resurrection.” 

The symbol of the phoenix was widely used by the Peranakan people in Java or Malacca as it represented their hopes of overcoming adversity and building new and successful lives. 

The vibrant colors of the plate collection infuse the dining room with a sense of optimism. 

In front of the bar sits a small, round table with glass jars that contain traditional snacks that can be difficult to find today, such as emping melinjo (chips made of melinjo) and kacang telor (fried nuts covered in flour and egg). 

A set of stairs leads to the first floor of the restaurant. Here, a pair of gigantic doors is fixed to the wall. Made of teakwood, the doors are inscribed with four Chinese characters. 

“May you be blessed with success and happiness forever,” Lily said, translating the Chinese inscription. 

A collection of kebaya encim (Chinese-styled traditional blouses) adds flare to the dining rooms. 

“Take a closer look,” Lily said. “You’ll find that each of them is unique and beautiful, just like paintings.” 

Each kebaya, intricately embroidered with colorful floral motifs, is paired with a kain batik (batik wraparound cloth worn as a skirt) and encased in an ornate glass case. The display stands as a unique tribute to the unique lives of Peranakan women of the past. 

The porch overlooking the bustling street is like a time capsule that takes diners to a bygone era. 

As in the past, at Meradelima restaurant, two different cultures coexist side by side in perfect harmony.


Sylviana Hamdani | November 26, 2010

In the Fashion Icons of Old, Inspiration for Today’s Women

(JG Photos/Afriadi Hikmal)
It might seem like a paradox. Even though overall today’s Indonesian women are better-educated and more career-oriented, many continue to harbor feelings of fear and insecurity. 


“There are still many women who want to look like a certain celebrity or a supermodel,” Indonesian fashion designer Sebastian Gunawan said before his fashion show at Hotel Mulia, in Senayan, Jakarta, on Oct. 25. “They’re not confident just being themselves.” 


The theme of Sebastian’s 2011 collection was Femme Fatale, after the charms and beauty of fashion icons of the 1940s, ’50s and ’60s. 


“Take Lauren Bacall or Marilyn Monroe, for example,” he said. “They were not wearing something that was controversial or over the top, but they exuded their charms by the way they carried themselves in the world.” 

The fashion show featured 92 evening dresses bearing Sebastian’s signature feminine and elegant look. He intentionally incorporated a wide array of cuts, fabrics and finishing details into the collection.

“I don’t want to dictate [fashion] to my customers,” he said. “I’ll let them decide whatever suits their personality and look.” 

The fashion show took place on a rectangular black runway, where the models strutted to a repertoire of classic songs from the ’40s, ’50s and ’60s. 

The lack of lavish decorations or choreography only emphasized what the show was truly about: “The dress is the star,” Sebastian said, with a smile. 

The fashion show kicked off with a graceful Corinthian-style blush-toned evening gown. 

Embellished with a gold-tinted belt and crystals on its sharp-cornered shoulder pads, the dress was both unique and elegant. 

In fact, shoulder pads featured in many of the collection’s pieces, with most dresses sporting sharp, angular pads. 

“It’s like in the 1940s,” Sebastian said. “At that time, women wanted to look strong and powerful, like men.” 

High shoulders add an aura of power and authority to a dress, and have a slimming effect. And for some women, like Posh Spice and Rihanna, high shoulders accentuate a petite figure and a strong personality. 

“Victoria Beckham is definitely today’s fashion icon,” Sebastian said. “She has a strong personality and looks good in everything she wears.” 

However, high shoulders may not suit everyone. For women who are not blessed with slim figures, high shoulders might create a formidably domineering look.

Many of Sebastian’s gowns showcased during the show were decorated with beads and crystals. 

A particularly chic and elegant long dress had cascading silvery tassels and glittering crystal appliques. 

From the creamy-hued dresses, the show took on a bolder turn by featuring Ferrari-red dresses. 

An off-the-shoulder red mini dress was especially enchanting with soft ruches flowing from the shoulders and the waste. 

Swarovski crystals around the waist completed the look. 

Short dresses featured strongly on the catwalk. 

A sleeveless dress with silver beads on the bodice and pleated black skirt that flared from the waist was particularly stylish and sophisticated. 

Another short dress, also with a tight bodice and flared skirt, layered lavish black damask on top of creamy-hued satin. 

The result was an arresting fashion gem. 

Satin dresses in cadmium green also colored the catwalk. 

A long gown with stately empire cut embellished with crystals and long flowing sleeves extending from its wide shoulders recalled the irresistible charms of the Swedish actress Greta Garbo in the ’40s. 

“The style is 1940s, but I’ve twisted it into something more chic and modern,” Sebastian said. 

The audience broke into applause when a model wearing an immaculate white tube dress appeared on stage. 

The chiffon bodice of the dress was ruched and ruffled to resemble the blossoming petals of a tulip. 

The long skirt, made of sheer white brocade, flowed gracefully as the model made her way down the catwalk. 

But the highlight of the evening was a simple satin black dress with an A-line silhouette. 

The bottom of the dress was embellished with silver and golden sequins in elaborate circular patterns. 

“Femme Fatale is born out of your own style and personality,” Sebastian said. “Fashion only augments the strong qualities that you already have. So just be yourself.”


Sebastian Gunawan Workshop 
Harmoni Plaza Blok K No.1 
Jl. Suryopranoto 2 
Central Jakarta 
Tel: 021 632 8470


Sylviana Hamdani | November 07, 2010

Dance of Life at ‘Con Festivita’ Exhibition in Indonesia

Bandung-based artist Monika Ary Kartika is in the mood to celebrate. After one false start, her new exhibition “Con Festivita” has opened at the Vivi Yip Art Room 2 in South Jakarta, showcasing a collection of her exuberant, festival-themed paintings. 


The exhibition almost didn’t happened at all. It took a lot of dancing around the subject — quite literally — before Monika arrived at just the right inspiration for her new exhibition. 



Working primarily from her studio in Bandung, Monika was initially inspired to do a series of paintings based on her love of salsa dancing. She regularly attends Latin dance clubs across the country and has been looking for a way to bring salsa’s celebratory spirit into her art. 



After starting on several salsa-themed paintings based on photographs she found through hours of online research, Monika felt her work didn’t really achieve the effect she wanted. 



“She browsed the Internet looking for pictures and information about international Latin dance competitions all over the world and then digitally processed the pictures before transferring them on to her canvases,” said Jim Supangkat, the exhibition’s curator. 



“The paintings she created turned out to be lonely with empty backgrounds. They didn’t capture the proud and festive atmosphere she wanted,” Jim said. “The colors were dark and gloomy.” 



Not satisfied, Monika went back to the drawing board and was surprised to discover new inspiration close to home in the Jember, East Java. 



It was there that she chanced upon the annual Jember Fashion Carnival. She was immediately inspired by the colorful, extravagant, over-the-top costumes worn by the participants and the exuberant, festive vibe of the event. 



The festival was started nine years ago by Jember’s thriving community of fashion designers and has been held annually ever since. It usually takes place the month before Ramadan. 



Monika found herself especially intrigued by the organic nature of the carnival, specifically the participant’s do-it-yourself attitude. All designers fund their own creations, some working on them all year long. 



“Some designers even go so far as selling their motorbikes to have the money needed to make a costume and take part in the carnival,” Monika said. 



She immediately started transferring the pictures she took at the carnival onto her canvases. 



She did additional research into similar festivals, like Brazil’s Carnival, to expand her visual knowledge of such events. 



The result are paintings that explode with the vivid colors of the carnival experience as well as the joyful expressions of bystanders at the event. 



Monika captures the celebratory swirl of the festival by freezing it on her canvases. One painting titled “Balloon” shows a woman with a wide, eye-twinkling grin, covered in colorful balloons, while “Green Carnival” depicts another woman in a futuristic, neon-green costume that transforms her into a preening peacock. 



For those who want to inject a little celebration into their lives, Monika’s exhibition will be on display at the Vivi Yip Art Room 2 through Dec. 20.



Vivi Yip Art Room 2 
Annexe Ciputra 
Jl. Prof. Satrio Kav. 11, Casablanca, South Jakarta 
Tel. 021 52905706 
viviyipartroom.com/exhibitions/con-festivita


Marcel Thee | November 26, 2010

ater Garasi: Embracing the in-between

The sight of a big-eared red Teletubby with a Mohawk pushing dangdut singing women on a yellow makeshift boat into a crowd of amused art lovers is bound to create a surreal and absurd image.
So do women performing the traditional tari topeng (mask dance) using plastic masks of robot action heroes to the otherworldly sounds of blipping techno music.  
But, these vignettes, part of experimental artist collective Teater Garasi’s latest play Tubuh Ketiga: Pada Perayaan yang Berada di Antara (The Third Body: On Embracing the In-Between), are not mere imaginary visions popping out from the minds of the Yogyakarta-based collective.
Directed by Yudi Ahmad Tajudin who collaborated with members of Teater Garasi, Tubuh Ketiga is an essay in the form of a visual art performance based on observations of Tarling-Dangdut art from the Indramayu community.
A coastal city near the border of Central and West Java, Indramayu is a crossing point between strong Sundanese and Javanese cultural centers; the urban life of Jakarta and sleepy rural village life; an industrial and agricultural area; and tradition and modernity .



Teater Garasi’s Tubuh Ketiga became a tribute to the people who live in the space in between, celebrating the latter’s relaxed openness to different cultures from virtually every direction.
The people from Indramayu have developed their own brand of art namely Tarling-Dangdut, a mixture of electric guitar, percussion, Sundanese flute with gamelan sensibility, combined with India-influenced Dangdut music and even techno sounds created from old chips.
By way of bricolage, Indramayu people take popular culture references and use them as their own. Beyond the tackiness of the performances, Teater Garasi sees a soupçon  of nonchalance in the meeting of different cultures — a refreshing attitude amid some of today’s fear-filled reactions toward change in the form of fundamentalism and chauvinism.
Teater Garasi presented Tubuh Ketiga on Oct. 11 and 12 at Salihara. Like a warm village reception, friends of Garasi formed a line and greeted the audience. Steamed bananas, peanuts and glasses of water were served to spectators, who took their places on the floor, the low-wooden platforms or stood at the back of the theater.  
Guitar riffs accompanied poet Gunawan Maryanto, the night’s MC. His singsong voice kept on rolling word after word, until the white curtain located behind a metal bench adorned with fake flowers — and bearing the sign “Congratulations for a new life in the globalization era” — was torn down.
As the curtain fell, the audience saw a painting of the sun setting behind the mountain, rice paddies and factories on screens surrounding Salihara’s black box theater walls. The play about Tarling-Dangdut singer Shanti Revaldi began.
In the 70-minute performance, tari topeng maestro Wangi Indriya danced with Sri Qadariatin, and Hanny Herlina with Theodorus Christanto.
Joy ride: Actress Sri Qadariatin sits on a yellow strolling boat, pushed by  a man dressed in a Teletubby suit. — Photo by courtesy of  Festival Salihara
Joy ride: Actress Sri Qadariatin sits on a yellow strolling boat, pushed by a man dressed in a Teletubby suit. — Photo by courtesy of Festival Salihara
The play featured a varied selection of songs from Kucing Garong (Wild Cat), Mujaer Mundur (Backward Fish) to Bjork’s It’s not up to You.
The most profound moment of the play was Wangi’s singing of the song Rhizomatic while Hanny swayed her hips and mouthed the lyrics as if singing in slow motion. The two women sat on the makeshift boat, while the red Teletubby pushed the boat, slicing into the crowd of people.
Members of Teater Garasi started taking interest in Indramayu two years ago when they produced 
Je.ja.lan, a play inspired by street life in Yogyakarta, Jakarta and Indramayu.

“We’re very interested in culture formed through the meeting of different cultures,” Yudi said. 
Given Indramayu’s reputation as a crossing point, it was the logical place to go.  

Garasi went to Indramayu in April after the harvest to observe the festivities.
“There was an extraordinary social phenomenon. Post-harvest, Indramayu turns into a center of festivals. Everywhere there are stage performances, in which Tarling-Dangdut becomes the main event,” Yudi said.
For Yudi, the people from Indramayu’s relaxed attitude toward different cultures surrounding them is valuable. “They arbitrarily take from here and there and recreate.”
In today’s interconnected world, an individual is no longer a construct of one single culture, which makes the question of identity becomes less important, Yudi added.
“The question is not about identity. The question is not ‘Who am I?’ but ‘What can we create?’” Yudi went on.
“In fact, many cultures construct the ‘I’. The traditional, the modern, the authentic, the alien — they all construct ‘I’, the subject.”
As in Garasi’s Je.ja.lan “dance-theater-cum-theater of images” production, the audience occupied almost the same space as the actors. Spectators were continually interacting with the actors, as the latter would use the entire theater as their stage.
“I place the audience and actors in the same space. The boundaries between stage, actor and audience become blurred,” Yudi said.
“Because, what is important for me in the two works is dialogue, interaction. It’s not the fiction or the art. I’m underlining communication rather than aesthetics. The play is merely a medium, my way to create dialogue on the issue of the idea that is being conveyed,” he said.   
Tubuh Ketiga was indeed a fun dialogue.

— Photos by courtesy of Festival Salihara

Prodita Sabarini, The Jakarta Post, Jakarta | Mon, 10/18/2010 10:59 AM | Art and Design