Jakarta. For paranormal investigator Phng Li Kim, Yogyakarta’s mystical traditions are a world of their own.

“In Yogyakarta, I realized that the ocean, mountains and even a huge rock are places of worship and spirituality. Its different from any other place I’ve been to, where only temples and [churches] are regarded as spiritual places for worship,” recalls the 44-year-old Malaysian of her time in Yogyakarta.

“This fact really sparked my curiosity for Yogyakarta. It also prompted me to investigate the mystical attributes of places like Mount Merapi and the legend of [Nyi Roro] Kidul, the Queen [of the South Seas, or Indian Ocean].”

While Yogyakarta’s folk tales and traditions are the main factors behind Li’s fascination with the city, she found its people to be equally fascinating.

“Yogyakarta is one of the most superstitious places that I have been to, but I don’t mean it in a negative way,” she says. “In fact, I find that there is a warmth and kindness at the heart of their superstitions that draws the community closer. Of course, there are some people who might not believe these age-old beliefs, but they are not disrespectful of them. I like that.”

Li Kim’s spiritual journey in Yogyakarta makes up the Indonesian leg of the hit reality show “The Paranormal Zone,” which she is hosting for a third straight season. Co-produced by Kechara Media and Publications in Malaysia, a publishing house Li Kim also heads, and NBC Universal International Network’s Syfy cable channel, the show follows the host and her spiritual adviser, Tibetan Buddhist monk Tsem Rinpoche, as they explore hauntings, exorcisms, sightings of mythical creatures and mystical traditions, as well as other mysterious phenomena throughout Southeast Asia.

Yogyakarta marks the production’s first foray into Indonesia as it continues to expand its scope in the region with each successive season.

But whether Li Kim’s paranormal investigations take place in the show’s core regions of Malaysia and Singapore, or more outlying countries like Thailand, its premise of dealing with the unknown remains the same.

“Many of the places that I see are best described as mystical, dark or suspicious  ̶  even intriguing. But one place that struck  me as ‘terrifying’ was a shop lot in season one where an exorcism took place,” says the Pepperdine University alumnus.

“The energy there was very dark and heavy, and I could feel the spirits trying to disturb me physically. But because I was blessed beforehand by my spiritual teacher, H. E. Tsem Rinpoche, and my Dharma protector Dorje Shugden, they couldn’t harm me. Still, it was draining having to fend them off,” she added.

While not all hauntings are as sinister, the element of the unknown continues to draw Kim.

“Investigating haunted locations continue to be the most exciting part of the job, as the spirits have a mind of their own and I cannot control them. I cannot ‘direct’ them what to do and how to appear,” she says. “They will do so as as they see fit, so at times I get nothing. But, as long as I exercise respect and compassion, I do get some responses, some of which are not necessarily captured by the cameras, and this can be frustrating for me.”

Discerning paranormal differences and traditions

For Li Kim, the paranormal phenomena she encountered and the notion of dealing with the unseen when filming “The Paranormal Zone” is distinctive to the countries used as its locale. Whether it be following up UFO and Bigfoot sightings in Malaysia, tracing the mystical powers of kris daggers, or walking the fine line between magic and medical science in Java, the allure of the unknown is one that the Malaysia-native knows all too well.

Other elements include finding them in the most unassuming places; among them Singapore.

“Singapore is distinctly different [from countries like Indonesia and Malaysia], because while its such a modern, cosmopolitan city, there are still beliefs in mystical and spiritual traditions and cultures that blend [into the city]. I was actually quite surprised by this, as I don’t think that such a modern city would still be still into spiritual and mystical phenomena,” says Li Kim, who worked at her family’s glove factory before going into publishing and TV with Kechara and Syfy.

“Malaysia and Yogyakarta are similar in that the healers and mystics I met have similar cultural foundations that shapes their belief systems. But I do appreciate the logic and reasoning behind Javanese mysticism [kejawen] in Yogyakarta; it made my experience filming there enjoyable and enlightening.”

During her travels filming “The Paranormal Zone,” Li Kim found that the living have more up their sleeves than the dead.

“One of the biggest challenges in making ‘The Paranormal Zone’ is finding credible sources for the stories we want to investigate. At times, I find individuals who are indeed have paranormal abilities themselves, while others over-exaggerate, making their claims suspicious,” she says with a smile. “While people can be interesting, they can also be less straight forward. Spirits on the other hand, are more direct.”

“[For the spirits, they can indicate a] ‘yes’ if they are there, and a ‘no’ if they are not. But I have had some unique experiences trying to film the spirits when they made their presence known, but the cameras could not capture any of it!” she remembers.

“At times we would have technical problems and the cameras would momentarily just stop working! That’s when I know we have to be patient until the spirits accept our purpose [...] and grant us permission to be in their space; the key is to have respect and compassion.”

While Li Kim has yet to set future plans for herself or “The Paranormal Zone,” she admits that broadening her horizons in mysticism and the supernatural, including in Java, are among them.

“Like other traditions, it takes years and even generations to understand [Javanese mysticism]. Its foundations, as well as the intricacies of its paranormal stories or legends, like one would find in other ancient traditions with a history. So yes, I will definitely come back to Indonesia in future seasons [of the ‘Paranormal Zone’].”

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Jakarta. Indonesian singer Mega Sihombing deftly hit the high notes on the Italian classic “Volare,” giving the piece its requisite exuberance and liveliness. Her Italian husband Mauro Goia added another dimension to the piece as he accompanied on piano, delighting the audience with interaction and musical dialog.

Goia’s acumen as a classically trained composer showed, while Mega made the song her own with her distinctive vocals, without giving away its integrity.

Their musical touch is just as sharp with the less upbeat “Caruso,” which originates from Southern Italy. Goia’s spoken word vocals and piano captured the song’s themes of yearning and sadness, in line with its theme of immigration to both North and South America. Mega’s vocals in the song are relatively sparse. But her high notes more than balanced this, as they managed to capture the migrants’ anguish and concerns about an unpredictable future of settling in new lands.

“Volare” and “Caruso” are part of “Italy and Indonesia: A Common Passion for Music,” a recital hosted by the Italian Embassy in Jakarta, the Italian Institute of Culture and the House of Piano featuring Indonesian and Italian music by the MegaMauro duet. Performed recently at the Italian Institute of Culture in Menteng, Central Jakarta, the duo highlighted the variations and eclecticism of the countries’ music, elements which they showcased in their highly acclaimed turn at last year’s “Rising Star Indonesia” reality musical competition show.

“Music [by itself] can’t change the world, but it can change those individuals who will change the world” says Goia, an alumnus of the Giuseppe Verdi Conservatory of Music in Turin in piano and composition. Mega agreed, noting that “music should do more than just entertain. It should also push its boundaries.”

The duo did just that with “O Sole Mio.” In a reversal of roles, Goia’s piano managed to infuse the iconic Italian number with the musical style of Mega’s Batak heritage from North Sumatra, even as the latter skilfully belted out the piece’s Italian lyrics. Goia proved that he can be at home with Indonesian tunes, as his piano recreated the liveliness of “Cucak Rowo” with a jazzy ditty all of his own. The piano jazz twist is just as tangible in his lively interaction of the cak and cuk ukuleles in the Indonesian classic “Keroncong Betawi,” as Mega’s vocals captured the banter and wit between men and women which forms the song’s roots.

The duo’s musical take on East Indonesian numbers like Papua’s “Yamko Rambe Yamko” and the West Kalimantan’s “Cik Cik Periuk” showed their musical flexibility. The mix of vocals and piano managed to catch the raw choral grandeur of the former as well as the mandau strings of the latter. The latter’s sardonic yet playful humor, in line with its satirization of transmigrants to Kalimantan, also gave a lighthearted touch.

“Ethnic Indonesian music like those Kalimantan and Papua are musically inspiring, as their unpredictable, natural rhythms are more different than the more structured compositions I’m used to in Europe” Goia says. “The music is also more spontaneous, while the different instruments give new musical colors and dimensions that are magical and swept me away.”

MegaMauro also gave a musical preview of their upcoming piece “Dangdut Elegante.” True to its title, the song’s lyrics are a combination Italian and Indonesian, showing off the writers’ aim to highlight dangdut’s universality among people of all ages.

“[Dangdut Elegante] is inspired by a number of dangdut classics like Rhoma Irama’s ‘Begadang’ and ‘Zackia,’ as well as the Elvi Sukaesih hit ‘Rindu.’ The inception of the song was about two years ago, so we’re still putting the finishing touches to it” says Mega.

Goia also did his bit in universalizing the genre.

“I retained the flutes that are integral to dangdut, but I replaced the strings with the bandino accordion, an instrument used in countries like Italy and Argentina” he says of the instrumentation, the latter of which gave the song a a tango touch,” he says. “I can also relate quickly [to dangdut], as its upbeat and sentimental tones give it much in common with Italian tunes like ‘Churri Churri’ and ‘O Sole Mio.’”

The two then gave a bit of background story with their original composition “Cerita Cinta Kita” (“Our Love Story”), an English-Indonesian number describing their meeting and courtship, before going back in time with an ethnic music influenced renditions of the “Charleston” jazz number, and a salsa take on “Joyful Joyful (Ode to Joy)” or the choral number from Beethoven’s Symphony No. 9.

They then closed the evening with the aria “Va Pensiero” from Verdi’s opera “Aida”, and the Andrea Boccelli hit “Con Te Partiro” ["Time to Say Goodbye"]. The former’s heartfelt yearning to be free and the latter’s ethereally moving description of parting struck a chord with the audience, and made them keen to see what the duo has up their musical sleeve.

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By offering flexibility in various media like videos, slides, infographics and posters, graphic recording is slowly gathering interest in Indonesia. Artist Imawan Rahadianto Atmosudirdjo aims to tap the full potential that graphic recording has in Indonesia, due to its standing as a novelty in the country. (The Peak Photo/Tunggul Wirajuda)

Graphic recording Imawan Rahadianto “Adi” Atmosudirdjo listened intently to the proceedings of the Trilian NGO’s Nature Conservancy initiative in Jakarta, his ears perked up at the initiatives and policy ideas being turned out at the forum. But listening is only half the story. Adi instantly put their policies and ideas into pictures and words, rendering hypotheses and theory into tangible facts easily grasped by laypeople.

“[Graphic recorders should] have the ability to capture the main points of the meeting and its ideas, whether they’re framed in questions, conversations or debate. In short, we listen to the speaker and transcribe their information in a visual manner,” says the 35-year-old.

“We have to capture those ideas in a fast, accurate drawing style. The method is particularly suited to learn new topics instantly; for instance, in a month I could graphically record a goal setting event for an insurance company, a workshop for a city festival, orient the public towards revisions for the constitution, and cap it off with a symposium on wildlife trafficking.”

His clients reflect this premise, as they include local powerhouses Pertamina and Bank Mandiri, as well as foreign institutions like the British Council and Oxfam.

Getting into the visual world of graphic recording

Adi started off graphic recording in 2011. Like other people whose passions morph into full-time jobs, the Bandung Institute of Technology (ITB) Fine Arts graduate started off with small steps.

“My mentor in graphic recording was my fellow ITB graduate, Deni Ganjar, who was also my colleague at my old job at Kid’s Magz. As one of the first Indonesian graphic recorders, he taught me a lot of his know-how, which include being a better listener and using visual language as an effective communication  tool,” he recalls. “Back then, I did graphic recording projects on the weekends, before I got the bug and did it full time in 2012. Then as now, I was motivated by the notion of rendering into pictures ideas and thoughts as well as the inspiration behind it.”

Most of all for Adi, graphic recording is the ultimate in combining business with pleasure.

“[Graphic recording] is a lot like doodling in class during high school. But instead of getting punished, you get paid,” he adds with a laugh.

While he makes the job sound whimsical, his first steps in graphic recording were anything but fun and games.

“At first, I translated meetings or seminars in English using Post It, before I learned to do graphic recording by watching how a graphic recorder does a drawing of the subject matter that I jotted down on it. By doing so, I know what information can be connected to one another or what kind of icon can represent a sentence according to a visual language,” he says.

“Sharpening skills or learning [about graphic recording] is an ongoing process, as I learned from any source at hand, including discussions on graphic facilitation/recording groups, books by graphic recorders around the world, as well as YouTube videos. Another invaluable source of information about current projects and our progress, as well as know-how and feedback, comes from graphic recorders from the Asean region, among them Tim Hamons from the Singapore-based ‘Art of Awakening’ graphic recording company.”

Raising graphic recording’s profile in Indonesia

Adi’s persistence, open mind, and willingness to learn got him far, as he’s perhaps the only graphic recorder in Indonesia with the know-how to draw the proceedings of seminars and symposiums in English. But as a relatively new skill in Indonesia, he is all too aware that he has his work cut out for him.

“Graphic recording in Indonesia has yet to reach the same scale as other Southeast Asian countries like Malaysia and Singapore. As a result, many of the items that I use for the job have to be bought in Singapore or brought in by air freight,” Adi says. “These include markers with more finely chiseled tips that are equally good for both drawing and writing, as well as foam board paper. As paper with a layer of foam, they’re well designed for the wear and tear of drawing and transcribing for hours on end.”

Despite the limitations, Adi noted that his work continued to garner more interest.

“The Graphic Recorder Indonesia community only has about seven full-time members. But the real number of practitioners may be higher, as I met a number of practitioners who didn’t join the community, including those who do graphic recording as a side job,” Adi says. “I’m certain that it will continue to grow, as I continue to meet new clients that are interested in [graphic recording]. The eye-catching illustrations in real time do more than generate interest in graphic recording; they can be used as mementos or used for further discussions and meetings, as well as material for their annual report.”

Passing graphic recording skills

The increasingly high profile that graphic recording has had in Indonesia, particularly its flexibility in various mediums like videos, slides, infographics and posters over the past few years, prompted Adi to pass his skills.

“I have been passing some of my knowledge and knowhow to a number of aspiring graphic recorders. The chance to share this visual language to more people, even those who are averse to drawing, is an opportunity that’s too good to pass,” Adi points out. “For practitioners, graphic recording’s benefits extend beyond putting the outcomes of seminars, symposiums or meetings.  As a method that visualizes thought processes or the ways and means to bring things about, graphic recording can be used by practitioners and lay people alike to tap their ideas and get a better perspective on how policies or decision making gets done.”

Adi aims to tap the full potential that graphic recording has in Indonesia, due to its standing as a novelty in the country.

“Our knowledge often surpasses our drawing skills, so I hope to narrow this gap in the future,” he says. “I’m still itching to find new fields to draw and visually record, and I hope that other graphic recorders will do the same.”

He also hopes that aspiring graphic recorders will approach their craft with his brand of intensity, namely to “keep practicing the visual language [of graphic recording], keep a sharper ear, and stay hungry and curious for more knowledge.” Whether graphic recording will continue to live up to its promise in Indonesia remains to be seen. But if Adi’s example or those like him is any indication, then it’s not too much to say that the craft of graphic recording has a bright future in Indonesia.

The Peak

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The vegetable vendors commiserated with the becak or rickshaw driver, their dialogue a lively piece of theater in its own right. Loading down the vehicle with fresh produce for the traditional market, their argument seemed to range from agreeing on a price to finding the right route for the marketplace. The woman sitting astride her wares on the rickshaw stridently called the shots, while her male counterpart seemed content to be on the sidelines, though he stolidly stood his ground.

Titled “Tukang Becak” or “Rickshaw Driver,” the work by Indonesian artist Soetopo is an all-too-familiar scene in Javanese life that was played out in his hometown Yogyakarta, Semarang and other Javanese cities, to innumerable small towns and villages. Made in 2014, the painting’s mundane yet idyllic setting is perhaps the 84 year old’s way of recalling a scene his youth or middle age, which is all but alien to viewers used to the excesses of uncontrolled development like traffic and excessive dependency on gadgets.

Soetopo’s 2015 painting “Mencari Ikan” or “Looking for Fish” is equally striking in its timelessness. Depicting a fisherman looking for fish with his two kids, the painting reflects the ideal of Gotong Royong or helping one another to get by, making it a longtime favorite trope among government officials or businessmen. The Indonesian Fine Arts Academy alumnus’ work reflects the style of the Sanggar Pelukis Rakyat (The People’s Painting Studio), which counts among its numbers Indonesian painting great Affandi, as well as lesser-known contemporaries like Batara Lubis, Nasir Bondan and others, making his work as “Through the Generations” in the exhibition.

“Tukang Becak” and “Mencari Ikan” are among the paintings exhibited in “Soetopo, Suroso, Hassan Djafar,” a retrospective of the three men’s works. Held at the Kemang 58 art gallery in Kemang, South Jakarta, the exhibition highlights the subtle strains and influences that went into the formation of modern Indonesian art. These particularly include the impressionist influences acquired by the latter two, which were uniquely adapted to the an Indonesian setting or landscape.

Suroso’s work “Pasar Burung” or “Bird Market” particularly epitomized it. Set in any number of cities or towns in Java, including his hometown Surabaya, the late painter succeeded in using the ethereal, yet vigorous brushstrokes of Matisse to bring out the hustle and bustle of the market. The impressionist touch extended to the work’s visual subtleties. The dark-clad figure in the center of the painting seem to invite viewers to glimpse at the secretive world of buying and selling the birds, chicken and other. However, his companions are bent on making this a tall order by shutting outsiders out. Nonetheless, he’s mindful about the traditional markets’ place in the Indonesian people’s psyche, as shown in his painting “Pasar” or Market. The mass of people in the work seem to converge there, underlining its social and economic standing for the community.

The third painter in the exhibition, Hassan Djafar, similarly took an impressionist bent, albeit with a a touch of expressionism. Taking on a naive style evoking Gauguin, his touch is reflected in the work “Matahari,” or “The Sun.” The color of the bamboo leaves reflects the French master, while the vibrancy recalls the painter’s hometown Kota Gadang in West Sumatra. On the other hand, the looming sun shows a touch of Van Gogh, and says much about Indonesia’s standing as a tropical country. His treatment of nature in paintings like “Air Mancur” (“Waterfalls”) and “Bunga,” or “Flowers,” also recall Monet. However, the lush surroundings of the grass and bright flowers can only be allusions to Indonesia’s tropical richness.

“Soetopo, Suroso, Hassan Djafar” runs through July 31. Until then, drop by Kemang 58 gallery to glimpse at the eclectic mix of painting styles.

 The Peak

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“Soetopo, Suroso, Hassan Djafar”
Through July 31
Kemang 58 Gallery
Jalan Kemang Raya No. 58, South Jakarta
Tel. 021 91647959, 0851 00584609
artgallerykemang58.webs.com
Open daily from 10 a.m. to 8 p.m., closed on holidays

The post Recalling the Idylls of Life in the Country appeared first on The Jakarta Globe.

(JG Photo/Tunggul Wirajuda)

The clean lines of the black Christian Dior dress were further accentuated by the stark black and white photograph. Made by Singaporean graphic designer Larry Peh as part of an advertising campaign for the Takashimaya Japanese department store chain in 2007, the image evokes the understated elegance Dior is renowned for, an element rendered timeless due to its stark, geometrical look. His poster for the Sincere Fine watch store is just as poignant. Having created it in 2002, Peh managed to convey the distinctiveness, luxury and craftsmanship of watches like Rolex, Omega and Tag Heuer.

The posters, as well as other works for companies like Kinokuniya book stores, Fendi and Tiffany jewelers, are among the dozens of designs that are part of Peh’s portfolio since he opened up his graphic design business &Larry in 2000. The designs reflect the 39-year-old’s trademark of juxtaposing the companies’ origins and traditions with their forward-looking vision, a notion he exemplified in &Larry’s premise of “marching backwards into the future.”

Getting in the cutting edge of design

Peh’s work with &Larry has made him a stalwart of Singapore’s competitive design scene. His standing is reflected in the accolades he garnered over the years, among them the Merit Award for Booklets and Brochures in the One Show Design earlier this year, Designer of the Year at the 2014 President’s Design awards, as well as the SPH Ink Gold and Silver for Print Advertisement Campaign and Single Awards, respectively.

While he credits Singapore’s illustrious tradition in advertisement, architecture and graphic design that predates the city state’s independence in 1965, as well as aspects like branding in his work, he also benefited from government policies supportive for startups. “Government policies are conducive for small and medium enterprises, as we are entitled to get up to 60 percent back in cash for our business or get tax exemptions of up to 400 percent. This will do wonders in buying the items we need for our business, such as computers, smartphones, tablets or smart TVs,” Peh says. “I was also fortunate to set up &Larry at a time when trends in the design sector are shifting from major corporations or businesses to startup small and medium enterprises. Then as now, collaboration with small and medium enterprises was sought after, as our hip, flexible and out-of-the-box approach is in line with many companies’ more adventurous approach.” Peh’s take on the latter is particularly seen in the hanging cans advertisement for the EDB company, which struck a chord with its postmodern art touch.

Like other Singaporean advertising or creative agencies, &Larry has been looking outwards from its inception. “&Larry have been forced to take on international clients early on, because relying on a clientele from Singaporean companies is too limited. Since then, our clientele have included companies like Fendi, Louis Vuitton and Tiffany’s, among others,” he says. “However, our approach is made distinctive due to our flexible collaboration and empathy with clients and partners, an element highlighted in the company name ‘&Larry.’”

“Aside from creativity, other elements that mark &Larry also include a small team that enables us to be on the same page, carrying out a balancing act between the egos of interior and graphic designers, as well as that of the architect.” The results of &Larry’s work can be seen in the muted dynamic of designs like his advertising campaign for National Geographic magazine that features its trademark logo balanced between a chair and table, as well as sharply angled filing cabinets and drawers. The visual effect of the works, as well as quirky touches like the use of lamps to hang clothes on, is subtle, yet dynamic and youthful, which went a long way in redefining his customers’ image.

Drawing inspiration closer to home

While Peh garnered much of his critical acclaim from multinational companies, much of his inspiration is still derived from his Singaporean heritage and its melange of Asian and European influences. “One of my first designs for a plate mat was inspired by the Singaporean habit of using tissues to reserve a table. The design played on a clash of cultures from a real life incident in which a Westerner ignorant of the custom sat down on a reserved chair, ate a noodle and used the tissue to wipe his mouth” reminisced the father of two. “A design that I worked on in the new National Stadium also used Chinese and Roman numerals. The former can be seen at the ground level, while the latter can be seen from above”. The stadium’s design also took a page from the Star Wars robot R2D2, which says much about its futuristic look as well as Peh’s standing as a longtime Star Wars fan. His use of benches to replace the seating in the stadium also went a long way in its facelift and instilling a sense of community.

True to his basics as a graphic designer, Peh’s versatility extends to posters for movies as well as movie festivals held in Singapore. His collaboration with acclaimed Singaporean filmmaker and school mate Royston Tan particularly stood out. “My work with Tan particularly made use of montage to portray the influence of Peranakan culture in Singapore, and the use of colors that suit it best” he says. “We also have much in common because the fields we are in is often misunderstood by our elders. Which is just as well because we are setting a benchmark in contemporary culture”.

Peh’s initiatives didn’t end there, as he pushed his creative boundaries even further by venturing into garments. “Many of my garment designs are inspired by subtle dynamics in Singaporean society. One of my designs called the ‘papa shirt’ is a nod to a shirt used by officials of the ruling People’s Action Party,” he points out. “Another shirt, which is called the ‘Garment’, is taken off the Singaporean pronunciation of government.” Peh then launched his newest menswear line Faculty online and in a pop up store at the Orchard Road business and shopping district. He also expressed an enthusiasm to expand his business to Indonesia, though he has yet to say when. While he has yet to make his mark in Indonesia, its not too much to say that it will be something to look forward to.

The post Highlighting the Subtle Nuances of Design appeared first on The Jakarta Globe.

Singapore. Tour guide Ong Han Wee deftly leads the group through the pitch-black corridor, calling out to them from time to time to guide them through the urban cityscape. While the sounds and sensations of Singapore in the darkness might bewilder and confound his sight-deprived charges, it doesn’t faze him in any way, as he feels at home in the overwhelming darkness and provides his floundering group with a sense of orientation and mobility.

The group threads its way through a variety of terrain, among them the lush foliage of Singapore’s botanical gardens and the gravel of its footpaths; swaying gangways leading to ferries and their narrow chairs; and the repetitive beep of street crossings. All these features, including the rough outlines of statues as well as their inscriptions or a corner to turn, would normally be mundane fixtures for people like Hans’s charges, who are used to seeing them. But cloaked in darkness and using little more than a can and outstretched arms, a quotidian stroll turns into a challenging obstacle course, even a nightmarish experience.

It’s easy to think that practice makes perfect for Hans, who has gone over the 557-square-meter terrain repeatedly. But for him and thousands of blind Singaporeans, finding their way around the city in pitch black is no exercise – it’s a daily fact of life.

Hans is one of a number of visually impaired guides who takes up to eight visitors at any one time through the Singaporean version of Dialogue in the Dark, a German-based initiative that offers walking tours of various familiar environments in complete darkness. The aim of simulating life as a visually impaired person and the role reversal that it brings is a core part of the franchise since its inception by Andreas Heinecke in Hamburg in 1988. The experience in Singapore, the first of its kind in Asia, has been felt by more than 70,000 people since it began at the Ngee Ann Polytechnic campus in October 2009.

“It seeks to promote the social inclusion of handicapped people into society,” says Helen Ng, the Dialogue in the Dark Singapore general manager.

“It also aims to foster empathy and empower the disabled. Dialogue in the Dark offers an unusual but effective platform to raise awareness and facilitate inclusion of all segments in the community, regardless of race, class, religion and disabilities, as these are no longer visible in the dark.”

Besides the tour, Dialogue in the Dark also hosts discussion sessions between participants and their guides after the tour.

Dialogue in the Dark Singapore’s 16-strong staff, which includes senior students from Ngee Ann, Hans and another visually impaired guide, Mohammad Hidayat bin Yakub, reflect the program’s aim of raising awareness about the disabled among the public from a young age, as well as allowing the disabled to give the public insights to the world.

“It gives me the chance to share my experiences with others,” says Hans, who was an office worker until he lost his sight.

“It also gives me a chance to show them that my disability might make me adjust to activities ranging from bowling or boiling water, but it won’t stop me altogether. After all, the blind and other disabled people are encouraged to work as well as be self-reliant in Singapore, and not be dependent on welfare and other government subsidies.”

Hidayat says the adjusting process has its challenges. “I took about two years to adjust to blindness, including feeling my way around for the first two months,” says the sports enthusiast and former masseur, who lost his sight seven years ago at the age of 18 following a footballing accident.

“But my muscle memory took over and enabled me to carry out physical activities I did before, like bicycling and running. I also participated at the goal ball event in the 2014 Asian Para Games in Incheon, South Korea.”

Dialogue in the Dark also offers a culinary alternative, Lunch or Dinner in the Dark, to allow visitors to experience how sensory deprivation can change an experience as simple as having a meal. To date, more than seven million people around the world have participated in a Dialogue in the Dark event at its branches in 130 cities in 30 countries. The franchise has extended its reach to other segments of society through Dialogue with Silence, which is geared for the deaf, as well as Dialogue with Time, which deals with the elderly.

The Peak

Dialogue in the Dark Singapore
Ngee Ann Polytechnic, Block 5, #01-03535 Clementi Road, Singapore
Open weekdays from 9 a.m. to 6 p.m. (last tour starts at 5 p.m.), and second and last Saturdays of the month from 9 a.m. to 1 p.m.
Tickets S$20 ($14.70, or Rp 197,300) for adults, S$12 for children and students, and S$60 for a family package of two adults and two children ages 9 and above
Tel. +65 64606222 for bookings
Dialogueinthedark.com.sg

The post Experiencing Life in the Dark appeared first on The Jakarta Globe.

The lemongrass drink lived up to its billing as a refresher. Known as the Tangy Lemongrass Refresher, the beverage derives its tangy and fresh flavor from the chunky, bubbly texture that the locally sourced lemongrass was broken down to. The drink also owes its organic wholesomeness and taste to the land, reminding one how its seemingly simple ingredients can go a long way.

The Tangy Lemongrass Refresher is one of a number of foods created by the Edible Garden City, a Singapore-based enterprise for the city-state’s urban farmers created in 2012 by Briton Rob Pierce and Swede Bjorn Low.

“[The Edible Garden City] set out to encourage Singaporeans to grow their own food. As an island whose scarce amount of land is used for urban development, Singapore is particularly dependent on food imports” says Pierce, a specialist in garden design and construction who based Edible Garden City on his grandfather’s experiences as an urban farmer tackling food shortages during World War II.

“Britain was also dependent on food imports then, but there were still enough urban farmers to grow food. Singapore is perhaps in greater need for them during an emergency, as there’s still a low number of them in proportion to the population, most of whom live in high-rise apartments.”

“The possibility for urban farming in Singapore is still more viable than Hong Kong, where I lived previously,” laments Pierce, who has lived in Singapore for the last five years. “However, the number of urban farmers who have the ability to make the most of our food supplies is still few, so there’s only so much we can do.”

“Among the foods that we constantly develop for ourselves are microgreens. We realized that it’s best if we grow it ourselves instead of importing them. But ultimately, Edible Garden City set out to remind the public that there’s nothing better for our wellbeing than to eat the food that we grew and developed for ourselves.”

It didn’t take long to see Pierce’s point, starting with his mushroom, kai lan and daikon salad. Prepared by students of Temasek University’s Culinary and Catering Management from produce grown by Mycofarm Singapore and Koh Fah Farm, the button mushrooms gave the dish a distinctively full flavored, somewhat smoky taste. The latter is due to the mushroom’s use as salad dressing in its powdered form. While the kai lan is somewhat muted, the daikon gave the dish its natural yet buttery flavor. The salad’s derived its wholesome organic flavor from the soil, making for a surprisingly hearty vegetarian dish.

“[The salad] reminds me of why I like working with vegetables” says student chef Lisa Tang. “Different parts of vegetables, whether it be their stems or leaves, have contrasting flavors that still manage to balance out. This is the effect that I always sought after.”

Edible Garden City’s gardens have been increasing in renown since the enterprise’s inception. The herbs and micro greens grown there won it a clientele of high end Singaporean establishments, including the Marina Bay Sands hotel and resort.

The Edible Garden City’s use of greens is also highlighted by their use of hibiscus in a main course that features seabass and prawn, as well as a mousseline of leeks and potatoes. Using seabass hatched from fisheries run by the OnHand Agrarian collective, the fish derived its wholesome, almost crunchy flavor from its marinating in organic prawn oil. Its lean skin did the dish wonders, as it provided a good counterpoint to the fish’s meat and gave it the right texture. While the prawn seemed understated, its subtly fresh flavor and texture make it an interesting contrast to the seabass.

“The seabass is grown on our fish farms near Johor. We placed the fish in concrete waterproof tanks which are watered by rainwater as well as freshwater” says On Hand head Shannon Tan.

“We also recreated the ocean ecology with an intricate process involving seaweed, fish waste, vermin and sand in the tanks. However we still have our work cut out for us as we only managed to hatch over 800 thousand kilograms of fish annually, which is still a fraction compared to the seafood we import from Indonesia, Malaysia and other countries in the region.”

The hibiscus garnishing did wonders to the dish. Its minty, grape-skin-like flavor balanced the fish out, as did the leek infused in the potatoes. The use of hibiscus highlights Edible Garden City’s work with herbs ranging from rosemary to snakeweed, some of which are used for salads or essential oils.

The Edible Garden City capped off the meal with Coconut Ice Cream With Southernwood. The ice cream’s delicate, creamy texture and flavor evokes the coconut’s freshness. But the shaves of southernwood took center stage, as it has a flavor akin to organic corn flakes.

On his part, Pierce adds that Edible Garden City will continue its efforts to get food self sufficiency for Singapore by trying out new methods and foods to produce or plant, whether it be with time-tested methods or by trial and error. Whether Edible Garden City can attain this goal remains to be seen. However, the enterprise might just be the incentive for urbanites to get closer to the soil.

The Peak

The post Tasty Ways to Boost Singapore’s Food Self-Sufficiency appeared first on The Jakarta Globe.

(JG Photo/Tunggul Wirajuda)

Jakarta. The gown curves gracefully, the contours of its ripples reflecting the light. Ornate and multi-hued, its tail seems to allude to a mermaid, while its reclining shape perhaps takes after a sphinx.

Titled “Powder Room,” the dazzling work by transgender artist and designer Tamara Pertamina poignantly shows that all that glitters is not gold.

“The dress [that makes up Powder Room] is actually made up of raffia rope and plastic bags. The plastic refers to the artificiality of people’s appearances, whether it be their body or the clothes that they wear,” says Tamara.

Curator Evelyn Huang agrees.

“Powder Room plays on the impulse of consumers to possess the gown,” she says of the solo — or rather one piece —  work, which is exhibited at the Space Gallery in the Pasar Santa traditional market in Senopati, South Jakarta.

“It also shows how one’s dress is little better than window dressing, as it shows what we wish others to see about ourselves.”

Held by Tamara with a little help from the Arco Labs Center for Art and Community Development, Powder Room’s point resonates beyond the Space Gallery’s cramped confines and its incongruous surroundings of women’s garment shops.

“The plastic used to make [Powder Room] says much about contemporary humanity and the use of plastic surgery, as one can’t tell people’s gender solely by their dress. The material and its pliability also symbolizes changes in sexual orientation beyond same sex or heterosexual relations between men and women,” she says.

“Nowadays, both men and women get involved with transgenders, undoing previous sexual conventions in the process. The only remaining element that defines human beings today is their heart, which isn’t made of plastic, even if the rest of one’s body can [be].”

“But [the exhibition] is more than just how others see us. The work also takes on how we see ourselves, as symbolized by the mirror in front of the dress,” says Tamara, a pesantren or Muslim religious school alumnus.

“The mirror reflects how we see or question ourselves, our sense of identity, and how comfortable we are in our clothes or skin. For instance, I keep three sets of clothes in my closet to go with my former identity as Adam, my current identity as Tamara, and my identities as both; which is perhaps reflected in the Powder Room dress.”

(JG Photo/Tunggul Wirajuda)

Aside from the Powder Room dress, Tamara also uses the occasion to sell some clothes of her own design.

Powder Room sees the 26-year-old develop her thoughts about being human, a notion she explored earlier in the “We Are Human” and “Mak ‘Cik” projects.

Arcolabs Director for Art and Community Management Jeong Ok Jeon shares her sentiments, particularly in its social aspects.

“Powder Room is as much a community project as it is a work of art. Its locale among textile kiosks see it tread the line between art and merchandise, while its exhibition in the Pasar Santa traditional market is our way to enfranchise common people and connect with them through art,” she says.

“The venue, and the common people that pass through it, is radically different from Powder Room’s previous exhibition at Kuningan City mall, where it was shown in a gallery and observed by an art savvy, well heeled milieu. The setup of ‘Powder Room’ in Space gallery make Tamara’s work similar to that of contemporary artist Eddie Boneski, the artist who preceded her at Space Gallery” Jeong says.

“Boneski’s work chronicles the lives of people who come and go in Pasar Santa, as in how they interact, how they live their lives, and how the market helped to shape it. His observations often take a surreal turn, largely because he managed to involve the locals by making the most of the public spaces for his work.”

“Much of this has to do with Pasar Santa’s standing as a community center that makes its mark in the area, but is so often overlooked by the affluent households who live near the market.

“In that sense, or work in Powder Room also portrays the traditional market as a viable social and economic system as it is before urbanization and development swept it away,” Jeong adds.

But regardless how one might view Powder Room, the concept of things not being what they seem and the work’s various interpretations make it food for thought.

Powder Room
To May 31
Space Gallery Pasar
Kios A Lo. 1 Bks 132 Pasar Santa Ground Floor
Jalan Cipaku 1 No. 1
Kebayoran Baru, Jakarta

The post All That Glitters is Not Gold in ‘Powder Room’ Exhibition appeared first on The Jakarta Globe.

Nicholas Fink has led the Radio Choir Berlin in a series of boundary-breaking musical collaborations around the world. 
(Photo courtesy of Heyde)

The voices of the singers from the Rundfunkchor Berlin, or Radio Choir Berlin, fill the air, the emotion in their song as strikingly powerful as their vocal skills and range.

Whether it be the Baroque grandeur of Bach’s “Passion of Saint Matthew” or “Passion of Saint John,” the more emotionally charged sound of 19th-century Romantic composers like Schubert’s “Gesang der Geister uber den Wassern,” or Carl Orff’s iconic 1935 cantata “Carmina Burana,” the choir, which is the oldest and most renowned of its kind in Germany, shows that its grasp of the classic medium knows no bounds.

“The basis of much of [the Berlin Radio Choir’s] repertoire is with 19th-century German Romanticists and their 20th-century counterparts because they entail a larger chorus,” says choir deputy director Nicholas Fink.

“Baroque choirs are usually smaller as they’re more oriented to chamber music, though certain numbers, like Bach’s ‘Passions,’ are exceptions to this rule. We have about 64 full-time singers, though we can have less than that or more, depending on the repertoire. Regardless of the size of the chorus, one has to make sure the singers are in vocally good health and musically connect.”

He showed this innovative streak in 2014, when he conducted the Berlin Radio Chorus and the percussionists of the U-Theater Taipei in the world premiere of musician Christian Jost’s “Lover.”

“My work [in ‘Lover’] required the chorus to sing in Mandarin,” he recalls of the composition, whose musical juxtapositions of East and West included combining the sounds of the piano and xylophone, as well as kettle drums and gongs.

“It was challenging because the language and music is different from our German roots.”

Fink’s other groundbreaking works include the Norwegian premiere of Frank Martin’s “Le Vin Herbe” in a “visual concert” performance using images by Norwegian photographer Magnus Skrede.

Fink, a graduate of the Luzern Conservatory of Music, is now set to bring his innovative take on classical music to Indonesia this October through a series of workshops and creative collaborations in Jakarta, Bandung and Medan, with choir groups from the University of Indonesia and Parahyangan University.

Their efforts will culminate in an evening program featuring pieces by 19th-century German Romantic composers such as Schubert, Brahms and Schumann, as well as Indonesian songs.

(Photos courtesy of Magnus Skrede)

The musical crossover project is part of German Season, a series of cultural programs held by the Goethe Institut, the German Embassy in Jakarta, and the German-Indonesian Chamber of Commerce from September to November.

A recipient of a conducting fellowship at the Tanglewood Music Center in Boston in 2006, Fink is no stranger to international masterclasses or collaborations.

“I only saw the Indonesian choirs on Youtube prior to coming here, so I don’t really know that much about them. But I noted that they are highly skilled, so we will work on a challenging repertoire with them,” he says.

“I look forward to juxtaposing the predominantly young Indonesian choir singers with their older German counterparts. As a chorus with members ranging in age from 25 to 60, we can combine consistency and cohesiveness and provide a balance between power and experience.”

His counterpart, Aning Katamsi, the trainer of the University of Indonesia’s Paragita choir, welcomes the opportunity to work with Fink.

“The upcoming project is our first collaboration with foreign musicians since we collaborated with the Vienna Philharmonic Orchestra in 1996,” she says.

“As a student choir, Paragita’s schedule balances its members’ academic routines with musical practice. We might not put as much time into singing as our professional counterparts, but we still have the same high musical standards.”

Choir singer Arvita Noor Amalia agrees, saying, “Our balance of academic work and music gets to the point that if one voice section is drilled, those who aren’t will continue with their studies.”

Arvita, a psychology major, says she hopes to merge her academic studies closely with her musical skills.

“I look forward to working with full-time professionals,” she says.

The differences in background don’t faze Fink. “As professionals, we find it worthwhile to work with student groups or amateur choirs because it enables us to get back to basics. We tend to live in a bubble where we are subject to music and constant criticism, so to work with others is a welcome break” he says.

“That’s why we hold sing-along projects, as they break down the barriers between us and the audience. It’s important to engage the audience, since attendance of music halls has been declining in recent years as online music enables people to enjoy it wherever they go.”

Fink’s work with the Berlin Radio Choir often sees him work together with renowned directors such as Sir Simon Rattle, Marek Janowski and Thomas Hengelbrock. He is also the choral director of the newly founded Schleswig-Holstein Festival Choir.

The post Choral Crossover From Berlin appeared first on The Jakarta Globe.

Dia.lo.gue Artspace is currently home to an exhibit showcasing the works of the country’s leading contemporary artists. (The Peak Photo/Tunggul Wirajuda)

The rims of the wooden pots intertwine, linking the two vessels together into an aesthetically pleasing whole. Titled “Double Vessel,” the work by Indonesian sculptor Anusapati is as much a nod to pottery and ceramics’ past as it is about new forms or mediums of the art.

“The interlinked pots that make up [‘Double Vessel’] reflect [Anusapati’s]  experience in woodworking and the versatility of the medium. It also addresses [the craft’s] multiple purposes and its different techniques, which vary from one part of Indonesia to another,” said curator and Dia.lo.gue Artspace gallery owner Hermawan Tanzil. 

“It also recalls pottery’s ubiquitousness in pre-Islamic Java, when Buddhism and Hinduism reached their zenith on the island. The era was marked by technological strides in the decorative arts, of which pottery was among the leading examples.”

“Double Vessel” is currently in display as part of “Contemporary Eye of Indonesian Art and Culture Heritage,” an exhibition of cutting edge contemporary Indonesian art. 

Held at the Dia.lo.gue Artspace gallery in Kemang, South Jakarta, the exhibition sets out to make a “contemporary interpretation of the cultural heritage behind Indonesian sculpture,” Hermawan explained.

“The artists in the exhibition are renowned for their technical proficiency and their ability to use cultural symbols, both in a metaphorical as well aesthetic manner.

“They have the discretion to rediscover the meaning of the historic artifacts of their choice and give them a new meaning in line with the present thoughts. 

“What makes this exhibition special isn’t just the end result; it’s the extensive discussion or process that I think is crucial in any artistic effort,” he added.

Prominent Indonesian sculptor Dolorosa Sinaga deftly did just this with a number of her works, among them “Mengapa Kau Menculik Anak Kami?” (“Why Do You Kidnap Our Children?”). 

“[‘Mengapa Kau Menculik Anak Kami’] takes the form of a sarcophagus, which is used by the ancient Batak culture to respect and honor the dead,” Dolorosa explained. “But in this sense, the sarcophagus is inspired by the kidnapping of activists in 1998.”

Seemingly set in stone, the sense of grief and outrage is palpable in the voiceless wailing of a mother holding her dead child. 

An overwhelming sense of loss is also evident in the fiberglass work; the figure’s outstretched arms seem to indicate her search for answers to the tragedy, which remained unresolved to this day. 

Known for her critical take on Indonesian history, the 62-year-old also questioned conventional wisdom behind the 1965 purge of suspected communists in “Concise History of Mass Murdered of 1965 in Indonesia.”

Inspired by the “Naga Padoha,” a sacred, ancient text of Batak cosmology and folk wisdom, the book is her own take on the massacres, which killed between 500,000 to more than one million suspected Indonesian communist. 

(The Peak Photo/Tunggul Wirajuda)

Similar to “Mengapa Kau Menculik Anak Kami,” grief and loss pours out of the book, as seen in the figure of a mourning woman clinging on to a coffin. 

The figure is weighed down by the book, as if to indicate how the lack of resolution of the issue still hangs over the nation 50 years on. 

Other works, like Taufan AP’s “Soul Mate/ The Journey” series, brought a new twist to traditional motifs. 

“[‘Soul Mate/ The Journey’] is inspired by animal forms portrayed on motifs in the Borobudur and Prambanan temples, as well as sculptures and totems dating back to the 13th century. The sculpture also evokes the figure of Bodhisattvas and their closeness to animals,” said the 41-year-old. “I used an origami style to portray the figures to give them a uniquely cubistic and artistic shape. 

“I chose to portray a water buffalo in ‘The Journey’ because of the animal’s strength, sturdiness and speed in running. On one hand its a symbol about how one should live their life; on the other, the portrayal of the water buffalo relaxing with the farmer represents an idyll of rural life.”

Fellow artist Awan Parulian Simatupang had a similarly whimsical take on Indonesia’s past with “Celengan,” or “Piggybank,” series. 

“[‘Celengan’] shows how the practice of saving [money] remain unchanged over time, starting from a simple piggybank to the use of commercial banks,” he said. “Their use dates back to the 14th or 15th century, as excavations of Majapahit sites uncovered terracotta piggybanks that served the same purpose.”

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