Tuesday, May 12, 2009

Nezar Patria: Juggling ownership and press freedom

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Mon, 05/04/2009 2:07 PM | People

JP/Matheos V. MessakhJP/Matheos V. Messakh

Nezar Patria wanted to be a journalist since junior high school, even though it went against the wishes of his father, veteran journalist Syamsul Kahar.

"Although my father is a journalist, who co-founded Serambi Indonesia newspaper in Banda Aceh, he never encouraged me to be a journalist. There was always a reason for his objections," he told The Jakarta Post recently.

But despite his love for journalism, there was a time Nezar lost all hope for it, tossing aside his ambition because he thought that being a journalist would not lead to anything positive.

"As a student activist I learned that there is no press freedom, so my priority was to bring the then dictatorship to an end," said Nezar, who was elected as chairman of the Alliance of Independent Journalists (AJI) in January.

Born in Sigli, Aceh, on Oct. 5, 1970, Nezar spent one year studying agriculture at Syiah Kuala University in Banda Aceh. He then went on to study philosophy at Gadjah Mada University, where he was active in various organizations including the controversial Solidarity of Indonesian Students for Democracy (SMID).

Nezar, who co-founded SMID in 1992, said the organization was established to give students a forum to fight for their rights, as student organizations had been hijacked by the government.

After the Democratic People's Party (PRD) was accused by the New Order regime of engineering the riot of July 27, 1996, SMID, as an allied student organization, was also blamed and its members found themselves on the run.

Nezar was secretary-general of SMID at the time. On March 13, 1998, Nezar and two other SMID members, Mugiyanto and Aan Rusdyanto, were forcibly taken by the military from their cheap apartment block in Klender; they were tortured and interrogated for three days before they were handed over to the Jakarta Police.

He was held until June so he could only hear the roaring of the May 1998 political upheaval from his cell.

"I noticed that the police were very busy and when I vaguely heard the song *Gugur Bunga' *Flower Fall* from behind the bars I knew that students had died," he said. "I felt so sad that I could not be out there with my friends."

After being released by the police, Nezar became a volunteer for the Commission for Missing Persons and Victims of Violence (Kontras) to help find some activists that were still missing. He also helped established Kontras Aceh.

"I have overcome my trauma of being kidnapped but I still have a kind of bad dream about my friends who were kidnapped and never returned," he said. "Every time I see any news about them, I always feel uneasy."

Nevertheless, Nezar, whom former SMID colleague Coen Hussein Pontoh described as a "highly skilled theoretician and organizer who talks little", adding that "in his hands the SMID was run well", recovered his dream to be a journalist.

When other 1998 activists joined political parties or went into the civil service, Nezar decided to become a journalist. In 2000, he joined Tempo magazine.

The father of three agreed he built his career with the magazine relatively quickly, but said he never used his fame as an activist to climb the newsroom hierarchy.

"It has been fast but I have been through all the positions that a journalist should have. I started as a cadet reporter, reporter and then editor."

In May 2008, he and some of his fellow Tempo journalists founded www.vivanews.com, a website under tycoon and politician Aburizal Bakrie.

His decision to work with the tycoon sparked criticism among journalists and the pro-democracy movement. Some regarded it as a backward movement but Nezar, who won the International Federation of Journalists' Journalism for Tolerance Award in 2003 for his report on the May 1998 riot, titled "The Razing of Jakarta", has his own argument.

"It's a professional world and I want to prove that I am a professional journalist," he said. "It is an uncontested fact in the media industry that we will always work with businesspeople. Wherever you go, you will always come across the problem of ownership."

He might once have been an advocate of social democratic ideologies, but now argues that the best journalists can do is to admit they are living in the world of the capitalist media industry whose main aim is profit.

With this awareness on the capitalist environment, a journalist will know how to deal with media ownership, which has been described as one of the obstacles in the development of press freedom.

Nezar believes journalists should make themselves credible and professional in the eyes of media owners, which will help them to negotiate with the owners over independence.

"If you want to create a credible press, you should tell the owners right from the beginning that you want independence. I did have that guarantee," he said. "I realize that there is no total independence and the owners always want to intervene, but the space for negotiation should always be open."

He added that media owners should be told that by intervening in the newsroom, they have started to kill their own business.

His decision to quit Tempo to work for an online media outlet was partly due to his experiences while doing a Ph.D. in international history at the London School of Economics, which he completed in 2007.

"On the Internet we can find quality journalism. I am big fan of The Guardian newspaper but I never bought a copy of it because it available on the Internet," he said.

"It's strange that being fast seems to be an absolute necessity for online media in Indonesia, but at the same time they sacrifice quality. Online media could become the very first to provide news and information without sacrificing quality."

Nezar, who was AJI secretary-general from 2002 to 2005, said the Indonesian press had been enjoying better freedom since the 1998 political reform but remained under threat.

Among the problems he cites are that some laws continue to threaten press freedom, the court remains ambivalent about whether a media case is a civil or criminal matter, and the public - and even journalist associations - are divided over the meaning of press freedom.

"The threats of violence that became a trend during the early years of political reform are decreasing but the systematic effort by the powerful to reduce press freedom is increasing," he said.

As the chairman of the AJI, Nezar said it was time to bridge the gap of perception about press freedom among the public, the state and even journalists.

He said that although journalists should not enjoy special privileges as citizens, the profession is related to the public interest and should be protected by special laws in order to uphold democracy.

"Press freedom is not only for the benefit of the media or journalists," he said.

"It's part of the freedom of expression, which is a basic right for the people. It is not only journalists who will suffer, but the public also will suffer if it is neglected.

Love in the time of disaster

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 05/02/2009 10:40 PM | Lifestyle

Gufron Kamil never imagined that one month after the collapse of the Situ Gintung dam, he would be able to make a difference to his life from just a small amount of support.

But the dam collapse, which claimed 100 lives and destroyed hundreds of houses in Cireundeu, Tangerang, had a silver lining for the 17-year-old student.

Gufron, who lost his grandmother, uncle and niece in the catastrophe, is likely to feel much better with the results of his recent national exams, thanks to a remedial course beforehand.

"If there had not been the disaster, we might never have had this kind of course. We might have had to study on our own at home and have no one to ask if we had any difficulties," said Gufron, a student at Islamic high school Madrasah Aliyah Darul Ma'arif.

"If wasn't here I might have more trouble with the recent exams."

Gufron is one of 18 junior and senior high school students, and 11 elementary school children from the affected area of Cirendeu, Ciputat, who organized themselves, with the help of the Nurani Dunia Foundation, to prepare for the national exams, which were held April 20 to 24.

Since the dam collapsed on March 27, an abundance of aid in various forms was sent and among those rushing to help the victims were corporations, public figures and nearly all election candidates.

Some sent donations, while others attended the scene to make philanthropic gestures, such as organizing outings and entertainment events, to comfort the victims.

But sociologist-cum-philanthropist Imam Prasodjo, who is the chairman of the Nurani Dunia Foundation, did one little thing that turned into a big thing for these students: providing a shelter for final year students so they could prepare for the important national exams.

Nurani Dunia volunteer caretaker Iqbal said Imam Prasodjo had set up the shelter after visiting Cirendeu and talking to Mei Shinta, a high school student at the refugee camp.

According to Mei Shinta, Imam Prasodjo told her "I will try to help you get what you want but I need you to be able to organize yourself."

Mei Shinta and Gufron Kamil tried to find as many final-year students as they could, with help from some volunteers.

"We started with five people and later we had more than 20 people but some didn't want to come here," said Mei, who attended the Islamic high school Madrasah Aliyah 4 Jakarta.

The 17-year-old, who hopes to study communications at the University of Indonesia or at the Jakarta National University, said she and her friends struggled to find available information about students in the aftermath of the disaster.

"We found a list of the students in the disaster area but it was just a general list, which didn't identify what grade the students were in," said Mei.

Nurani Dunia bought these students shoes, clothes and books for school, but also, and most importantly, found them a place to study in preparation for the final exams, then just a few weeks away.

The foundation located a house in Pondok Pinang, South Jakarta, not far from the FedEx building. Knowing that the house would be used for "quarantine" for the Situ Gintung victims, the owner offered them use of the house for free until May 2.

"Luckily, the house has made them closer to their schools, which are located around South Jakarta," said Iqbal.

The foundation also received a lot of support for the study shelter, including food, beds, whiteboards and kitchen sets.

So, from early April, 18 high school students stayed and studied in the five-room house, far from the bad memories that surrounded them at the refugee camp. Three volunteers took turns to oversee them.

The shelter also provided volunteer tutors. At least five tutors from the state high school SMAN 8 Jakarta and from the Al-izhar Islamic school visited the house for three hours each day to help the students.

As for the sixth-grade elementary school children, who were considered too young to leave their parents, they just visited the shelter after school hours each day to attend tutorials.

The shelter also provided allowances for the children to go to school.

"We just tried to give these students what they really needed. We could give whatever they wanted but the national exam is crucial for them," said Gita Prasodjo from the Nurani Dunia Foundation.

If only the data on the students had been complete, said Gita, the foundation might have been able to help victims with more specific help.

However, these students have got the thing they needed to help keep their dreams alive: a little help to pass the exam, even while their parents remained concerned about their future, living in refugee camps in Kertamukti, in rented houses or with relatives.

"I am the eldest of four children and I feel obliged to make my family better off. But I also have a dream of studying mathematics at the School of Mathematics and Natural Science at the University of Indonesia," said Gufron, whose ambition is to become a math teacher.

Tuesday, April 28, 2009

Actress Anne Coto loves breastfeeding

The Jakarta Post | Tue, 04/28/2009 11:43 AM | People

www.kapanlagi.comwww.kapanlagi.com

JAKARTA: Most actresses might skip the recommended first few months of breastfeeding their baby but actress Anne Junita Coto feels doubly proud of breastfeeding her little one.

“When you have a baby you can put aside anything, even yourself, for the baby,” said the 34-year-old woman.

Occupied with the nursing of her son, the actress admitted she has less time with her husband in bed.

“Sometimes when we’re ready [to make love] my son cries and I have to check on him,” she said.
Anne married American Mark Hanusz in June 25, 2005 and now the couple has a one-and-a-half-month-old baby, Julian Avanindra Coto Hanusz.

The woman, who was born in Pontianak in West Kalimantan on June 29, 1974, said she expected to breastfeed her son until he was two years old, as recommended by doctors, but she was having a little difficulty.

“My son is getting bigger and his primary teeth are coming through now so it makes me a little uncomfortable,” Anne said, adding that she will gradually reduce the breastfeeding.

“I don’t have the heart to see him crying for milk, but I have to,” said the woman who just finished filming her new movie Daddy versus My Boyfriend.

Anne began her career when she won the Miss Indonesia Friendship competition in 1995 and then moved to Jakarta in 1997 to pursue her acting career. — JP

How real is reality TV?

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 04/25/2009 1:34 PM | Entertainment

Waiting for the drama: Reality show hosts Panda (left) and Mandala on the set of TransTV top rated program Termehek-mehek. Courtesy of TransTVWaiting for the drama: Reality show hosts Panda (left) and Mandala on the set of TransTV top rated program Termehek-mehek. Courtesy of TransTV

When life becomes boring, people turn to the drama of movies and soap operas. When these dramas become soaked in pathos, we stoop to the last resort:The reality show.

A huge number of reality TV programs have been flooding our screens recently, claiming to provide us with real footage of stories and events.

Covering a wide range of genres, from elimination game shows, dating competitions, makeover projects and talk shows, these programs have attracted millions of viewers.

With the lure of an hour of fame, reality TV shows coax an inexhaustible string of participants willing to do anything from revealing personal stories, to eating bizarre animals to walking on fire in the jungle.

Reality TV contestants are sometimes criticized as "B grade" celebrities who occupy an absurd form of fame.

Despite the name, perhaps "reality" TV still uses the age old recipe of entertainment: conflict and dramas.

Even with these old-school elements, reality shows surpass the ratings of prime time soap operas.

Take Termehek-mehek, a program on TransTV where hosts - Panda and Mandala - help participants find their missing loved-ones.

The latest AGB Nielsen rating for March 2009 put Termehek-mehek on the top of the list of 100 programs from all stations nationwide.

After success with Termehek-mehek, the station now produces other reality programs such as Orang Ketiga (The Third Person), Happy Family: Me vs Mom, Makin Gaya (Get Stylish), Realigi, First Love, and Jika Aku Menjadi (If I were).

The 2009 Panasonic Awards confirmed that TransTV is dominating the ratings war with its long list of reality programs.

Termehek-mehek, which started in May 2008, was awarded the most popular reality show, while the presenter of Happy Family: Me vs Mom, Ruben Onsu, was awarded the most popular reality show presenter.

But how real is TV reality show?

Termehek-mehek executive producer Herny Mulyani said the popularity of reality shows was a response to the fact that many TV programs had been accused of being overtly unrealistic.

"We are trying to create something the audience can relate to as well as be entertained by," she explained.

Reality TV shows plots were also more authentic and engaging than scripted dramas, said Herny.

"An affair would be much more interesting if it was real rather than scripted.

"People will feel the emotion if, for example, they watch people fighting for real or if they see our crews being beaten."

Despite the "real" aspect of on screen conflict, film crews often try to provoke emotional responses from their participants before the cameras start rolling.

"We talk to people about their problems. Sometimes we ask people related to the participants to work with us also," she explained.

Herny said crew members filmed real negotiations that usually involved conflict, but did not air the footage without the consent of the people involved.

"At the end of the filming, we will persuade them to allow us to use the footage.

"Sometimes we succeed, other times we have to abandon the shots altogether."

Some also give their consent conditionally, requesting the footage be shown only once or with blurred faces, street signs or license plate numbers.

The TransTV production department head, Roan Y. Anprira, said all stories were based on true events, but the production crews employed "certain measures to achieve their desired effect".

Anprira denied claims that some episodes were too good to be true, where for example, very complicated problems were solved in very short periods of time.

"People don't know how many failures we have been through during our production. We only air successful projects, but we also have lots of unresolved stories," he said.

However, he admitted that if crew members failed to locate certain people needed, relatives and friends would take their place.

Social psychologist from Yogyakarta's Gajah Mada University, Helly Soetjipto, doubted programs dubbed "reality" actually presented the facts.

"If these programs are real, it might help people improve their self esteem. But if these programs are fake, then TV stations have provided false knowledge about how to deal with life's problems," Soetjipto said. "The thing is, this kind of knowledge will be imitated in real life."

Andi Christianto, the executive producer of Shandiego Creative Media - a production house that produces reality shows for SCTV - said people misunderstood the term "reality show".

For him, nothing is real in any program titled "show", even when coupled with the term "reality".

"Reality shows exploit real stories that we get from the audience. They can't be as real. There are always some modifications. Even a documentary needs editing," said the man who produced Cinta Lama Bersemi Kembali (Old Love blooms), Pacar Pertama (First Love), Backstreet, Cinta Lokasi, Mak Comblang (Matchmaker), Cinta Monyet (Puppy Love), and (Hesitate).

Filming could even be repeated several times due to the poor acting skills of the cast.

"To be honest there is no filming that isn't directed or that is not noticed by the people who are filmed," he said.

Although the production cost of a reality program could be as low as half of the production cost of a scripted program, filming people without their permission, said Christianto, was risky and unethical.

"It's trapping people. Who would dare losing million of dollar being sued?"

A set-up reality is not only related to risk of losing money, but also to time.

Therefore, events on screen are manipulated through editing and other post-production techniques.

"If we follow the event in real time, we would never meet the deadline. The filming takes about two hours and the editing take at least three days."

In light of this, would you still watch reality TV?

Perhaps, as we are driven by our thirst for real drama, reality TV won't cut it anymore.

Or perhaps we will always thrive on the humiliation and conflict of others.

Either way, we seem to have turned a blind eye to "reality".

Why people like reality shows

The Jakarta Post , Jakarta | Sat, 04/25/2009 1:33 PM | Entertainment

Some cry. Others laugh out loud. The rest frown in shock. Welcome to reality TV.

Sinetron TV soap-operas are no longer the only high rating shows around, reality shows have stolen the limelight.

The latest survey by AGB Nielsen Media Research, found that the majority of Indonesian teenagers prefer watching reality TV shows above any other programs.

Lisa, an 18-year-old college student, said she watched reality shows almost every week.

"The first time I watched Termehek-Mehek (a reality show on Trans TV) I was hooked and wanted to watch it every week," Lisa said. "This is more than a soap-opera because it's real," she said.

The survey found that young people aged between 10 and 19 years preferred watching reality shows over more traditional programs such as music, comedy, or game shows.

Termehek-Mehek, the survey found, is the most popular reality show for teenagers in the country. The program helps people track down friends, relatives, and past lovers they have lost contact with over the years, and is renowned for its unpredictable outcomes.

But do people watch reality shows for precious insight?

According to Helly Soetjipto, a social psychologist from Yogyakarta's Gajah Mada University, people use reality shows to compare their own life situations against those in the programs.

Watching reality shows, he said, makes people feel better about their own un-filmed lives.

"As reality shows feature the lives of ordinary people instead of professional actors, they encourage the viewer to see that other people suffer the same problems as themselves," said Soetjipto.

"These scenes compliment the commonalities of our lives."

With the potential to turn participants into national celebrities, at least for a short period, TV stations have started to produce and buy more reality programs. Trans TV and SCTV currently produce a large range of these shows.

While SCTV relies on production houses for the supply of their reality programs, Trans TV is the only station that has in-house production.

SCTV's public relations manager, Budi Darmawan, said many TV stations are seeking alternatives to scripted programs such as news, music and soap-operas.

Budi denied the booming of reality shows was related to the ongoing economic crisis which has forced TV stations to reduce their production costs. "It's just the right trend at the right time," he said.

Andi Christianto, the executive producer of Shandiego Creative Media, admitted the production costs of reality shows were much lower than scripted programs.

"The production cost *of a reality show* is about half *of a scripted program*. As reality shows aim to portray real situations, we're not expected to produce high quality pictures and we don't need to rent expensive cameras or use expensive actors," he said.

Herny Mulyani, the executive producer of several reality shows on Trans TV including Termehek-mehek, said the rising popularity of reality shows is part of this trend.

These programs, she said, have evolved over the last decade.

"Back in 2002, the trend was gossip shows. Many stations had five to six gossip shows," she said. "Reality shows today are a progression of this trend. People are fed up with exaggerated soap-operas."

- Matheos Viktor Messakh

Veronica `Panda' Felicia Kumala: Making it personal

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Sat, 04/25/2009 1:33 PM | People

Courtesy of Veronica Felicia KumalaCourtesy of Veronica Felicia Kumala

Everything happens for a reason, and Veronica Felicia Kumala believes this.

The host of TransTV's popular reality show Termehek-mehek said she was not enthusiastic when a friend asked her to help with the program's pilot project.

"I didn't know what the project was all about, and the name of the program was also weird," said the 26-year-old, popularly known as Panda - initially a sobriquet from two of her high school friends who thought she looked like a chubby bear.

She had already forgotten about the two-episode pilot project she did when she was called for an interview by TransTV, which had bought the program from production house PT Triwarasana.

"I was doing something else and didn't even remember it," she said.

The latest survey by AGB Nielsen Media Research, found the majority of Indonesian teenagers prefer watching reality TV shows more than any other programs.

The survey found Termehek-mehek - which helps people track down friends, relatives and past lovers they have lost contact with over the years - is the most popular reality show for teenagers in the country.

The program is renowned for its unpredictable outcomes.

In the show, which began in May 2008 and is still running, Veronica is partnered with Mandala Shoji. But it took 13 episodes before they got the chemistry right.

"We had a very difficult time because we come from different backgrounds. Mandala is an actor, while I'm a radio host," said Veronica, who has been a DJ at Prambors radio station since 2002.

Her three years of experience as a host for RCTI's Katakan Cinta helped her deal with the problem.

"Now we even understand each other's body language," she said.

Despite Termehek-mehek's popularity, she is aware that many people still misunderstand the reality show.

"The stories are real, but we call it reality drama because it involves the process of dramatization for the sake for broadcasting," she explained.

Being a host, she gets deeply involved in the cases and at times, the emotion gets to her.

Once, when filming at Pondok Ranji train station for a twins episode, she lost control.

"I used all the abusive language I knew when facing thugs in a scene, because they were acting outrageously. I didn't realize it was during filming," she said.

But she never feels bad about meddling in people's privacy for the show.

"It depends on how we look at these stories. As long as we do it with a good intention, I will never feel sorry, especially when a target does not show any regret," she said.

"Many also dislike Oprah Winfrey. But as long as I did not take someone's life or make them lose their job, I will do it. The risk is part of my job."

Being in the show also makes her feel grateful that she can learn from other people's experience without having to go through it herself.

"We really put ourselves in other people shoes, and that's why sometimes we are overwhelmed with emotion."

The show has also opened her eyes to people's many problems, but she said that if her boyfriend cheated on her, as has happened to many of the participants in the show, she would simply leave.

"I will never look for the man who left me without any notice. There are many good things to do than look for someone who has left," she said.

"The first thing that comes to my mind when I heard about this kind of story is, *babe, there are many good men in the world, so forget him and move on,'" she said.

"But unfortunately people are different. Some can do very well when their partners leave them, while some have a very bad situation."

Despite her popularity, she prefers to be called an artist rather than a celebrity.

"Everybody can be a celebrity, even a killer; but to have the skill of speaking in public and dealing with people on the screen is an art," she said.

Some have even encouraged her to act in soap operas, but the woman who finished her mass communication study from the London School of Public Relations in 2006 said she would like to have her own TV talk show like her idol Oprah Winfrey.

"I never say never to any offer to act in a soap opera, but my dream is to have my own talk show. I like to listen to people but I still have to improve my skills," said Veronica, whose undergraduate thesis was on viewers' responses to the Super Deal 2 Million Quiz show.

She also has a dream to build a center to help youths improve their self-confidence.

"When I was in high school, I had a problem with self-confidence. I was 160 centimeters tall but weighed 65 kilograms. My friends called me names like *Panda', *a calf like Flintstone's cudgel', or *VW bumper'.

"You could never imagine what I tried doing to lose weight, until I was rushed to hospital at midnight because I took too much medicine," said Veronica, who now hosts an early morning radio program aired in eight big cities, called Panda Berkokok (Panda Crows).

Being a talk show host and setting up a youth center are not the only things on her agenda. She plans to pursue a postgraduate course in business or become a presenter at the Voice of America (VOA).

One thing for sure, she never has any regrets in her life.

She was rejected by the University of Indonesia in 2001, which prompted her to study at the London School of Public Relations. And if she was not jobless for a while after graduating, she might never have taken a TV presenter course at the Indonesian-British School of Communication.

"This background made a friend encourage me to apply for a presenter job at Prambors, which later gave me the opportunity to host Katakan Cinta and later on Termehek-mehek," she said.

And her show's popularity, despite the presence of many other reality shows, did not make her feel higher than others.

"The higher you stand, the more you get the wind," she said.

Friday, April 24, 2009

Finding humanity in scrap metal

Matheos Viktor Messakh , The Jakarta Post , JAKARTA | Thu, 04/23/2009 1:14 PM | Arts & Design

Teguh Ostenrik will never forget his professor’s definitive assertion: “Creativity is when you make gold out of pig’s excrement.”

He received this pearl of wisdom in the late 1970s when he was doing a master’s degree in fine art at Berlin’s Hochschule der Kunste. Perhaps it influenced his artwork, as his usual materials of choice are scrap metal and waste.

In the spirit of recycling, he even designed a pyramid using bricks made from plastic bags in Munduk, in the north of Bali, in 1994.

The painter–sculptor’s latest works will be gathered together at Jakarta’s National Archive Building on April 26 and 27, under the theme “deFACEment”.

The Way I Approach, iron (Courtesy of Teguh Ostenrik)The Way I Approach, iron (Courtesy of Teguh Ostenrik)

What makes these works unique is that all the materials involved are scrap metal.

Teguh claims he does not believe in mood in art but in technique and management.

Nevertheless, perhaps an acute awareness of his origins and mortality has contributed to his consciousness of the importance of preserving the environment through recycling.

“I asked myself, what have we given back to Mother Earth? Don’t forget that all hazardous waste is human-made. I didn’t need prodding [to do this]; it came from myself as an artist,” said Teguh, whose sculptures and paintings have been exhibited at galleries and museums across Europe and Asia.

The artist spent the past six months in a metal factory in Tangerang, Banten, preparing his works for the exhibition, with the help of two assistants. They used metal obtained from old keys, knives, wire and other items no longer of use, all provided by the factory.

Fresh from the oven (metal): Recently finished art works of Teguh Ostenrik line up on the yard of a metal factory, where the artist has been working at, in Tangerang, Banten. (JP/ Matheos Viktor Messakh)Fresh from the oven (metal): Recently finished art works of Teguh Ostenrik line up on the yard of a metal factory, where the artist has been working at, in Tangerang, Banten. (JP/ Matheos Viktor Messakh)

“It’s a metal factory and they always have metal waste from production or from broken machinery,” he said.

“I’m lucky that the owner of the factory allowed me to use this metal waste.”

Teguh prefers metal to wood because although metal plays such a big part in our lives, it is not biodegradable.

“I once used wood when I was in Germany but it was used wood,” he said.

Other works that form the “deFACEment” exhibition were made in Penang, Malaysia, where Teguh was selected for the Artist in Residence program organized by ABN-AMRO Bank and the Wawasan Open University in 2008.

Teguh aims not only to use scrap metal but also to save energy during production.

“We usually attach pieces of metal together to create artwork with welding,” he said.

“I try to respect the initial form but sometimes we have to cut them using a cutter or plasma cutter.”

To produce the corrosion effect, new scrapmetal creations are sprayed with a chlorite substance to render them rusty, to reflect the character of Mother Earth.

Humanity has always been at the heart of Teguh’s art. Indeed, he said it was because of his interest in humanity that he left his medical studies in Jakarta in 1972 to study art in Germany.

Since his work was first displayed at Berlin’s Galerie Am Parkhaus in 1977, it has presented interpretations of various themes in human life, thought and existence through the employment of universal human figures.

And so, while God created mankind from dust, the artist creates his work from scrap metal.
Thus, we find a human figure with hair made of wavy wires titled Belon Disasak (Not Teased Yet), a figure made from tubing and wires that seems to embrace itself titled Self Indulgence and a multi-faced figure accordingly titled Dasamuka.

“The closest object to us is the human figure,” Teguh said, explaining the concept behind his human-centered works.

“We even have one and interact with them all the time.”

This collection reflects a further exploration of his early works from 1976, themed Homosapiens, but Teguh, who likens creativity to naughtiness, tends to continue deconstructing the academic structure he learned.

“Creativity is going beyond your own limits,” he said.

Urban planner Jo Santoso said Teguh’s works are very relevant as a reflection of the decomposition of human life in modernism.

“All of his works have human spirit. It challenges us to admit we are part of nature, the earth,” Santoso said, during the discussion of Teguh’s works in Jakarta on Saturday.

“He is a genius who uses modern art to express his criticism of modernism, but at the same time, he invites us to look at ourselves as part of nature.”

Santoso said something traditional is usually regarded as an opposition to modernism but Teguh refused that kind of modernism.

“He [Teguh] wants the kind of modernism that is friendly to tradition, earth, and humankind,” he said.

Communications expert Kafi Kurnia, who first met the artist more than 20 years ago, found Teguh’s works had changed.

“Back then, he was a very angry man and his works were also raw and full of anger. Now, they are sweeter and reflect maturity,” Kafi said.

Some of the works at this month’s exhibition were displayed last year during the artist’s solo exhibition at Alpha Utara Gallery in Penang, Malaysia, at a group exhibition titled “Self-Portraits of Famous Living Artists of Indonesia” at Jogja Gallery in Yogyakarta, and in a group exhibition themed “Dari Penjara ke Pigura” (From Jail to Picture-frame) at Jakarta’s Gallery Salihara.

Some of the items currently at the National Archive Building have already been sold, at prices starting from Rp 10 million (US$881). Dasamuka sold for Rp 100 million.

Teguh finds an interesting correlation between the way he makes a living — manipulating metals into human form — and the way others do.

“I have a routine that is not about manipulating people, as politicians usually do, but manipulating waste materials.”

Teguh Ostenrik: You need to be naughty to be creative

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Thu, 04/23/2009 2:00 PM | Lifestyle

Artist Teguh Ostenrik does not believe in talent. For him creativity is about skill and hard work.

"Experience is a collection of mistakes. Make millions of mistakes but don't repeat the same ones," Teguh said, when emphasizing his philosophy on nurturing creativity.

Teguh is one of the few Indonesian artists who has exhibited his sculptures and paintings at prestigious galleries and museums around the world, from Galerie Lichtstudio and Der Oper in Berlin, Germany, to Fukuoka Art Museum in Japan.

Even when he was still a student at Berlin's Hochschule der Kunste, or the Berlin University of the Arts, he held his first solo exhibition at Galerie Am Parkhaus in 1977, followed by 39 solo exhibitions, 50 group exhibitions and 27 performances around the world over the next 32 years.

His commissioned work is also displayed at 29 museums, public landmarks and corporate buildings worldwide, including sculptures at the ultramodern Church of St Mary of the Angel at Bukit Batok in Singapore, terracotta art at Klinik Am Ring in Cologne and a gigantic 10-panel mixed media installation at the ASEAN Secretariat building in Jakarta.

Born in Jakarta in 1950, the sixth child - in a family of nine - did not have a place he could call home for years. Teguh's and his family spent many years following their father Ostenrik Tjitrosunarjo - a policeman - around the country from Makassar in South Sulawesi to Semarang in Central Java.

He inherited the unusual name of Ostenrik from his grandfather, Surakarta palace's official artist who once painted a portrait of a goodwill ambassador from Austria. The ambassador was so pleased he bestowed upon the painter the name Oostenrijk.

Later on, due to growing anti-western sentiment during former president Sukarno's era, the name's spelling was changed to Ostenrik.

After the alleged September 1965 coup or G30S, his father moved to Jakarta while Teguh was still in Semarang, spending three more of his senior high school years in Surakarta. Everything seemed fine with Teguh until he joined the School of Medicine at Jakarta's Trisakti University to prepare for a successful career as a doctor.

But Teguh's heart was elsewhere.

"Within the first two years, I realized I didn't want to become a doctor.Medicine sees humans as merely organs, everything is memorized," said Teguh, who spent the first two years at the university mostly drawing anatomy, cells and organs.

After corresponding for a year with his high school friend Robert Gunawan who studied in Aachen, Teguh left for Germany in 1972 with the money he had saved while driving a night taxi and 1,000 marks his late mother Marsini gave him - the only person who supported his decision to leave Indonesia. The dream was to study drawing at Hochschule der Kunste.

He spent three weeks learning German in Munich before moving to West Berlin to continue studying the language while working at a Balinese restaurant as a dishwasher.

He was only accepted at Hochschule de Kunste's department of fine arts after his fourth attempt in 1974 and finished his Meistersch*ler degree in fine arts in 1980.

His first terracotta pieces were already on display in Jakarta by 1980 at Mitra Budaya gallery, which was when his father started to understand his decision to become an artist, he said.

Teguh traveled to New York in 1981 for about three months, contributing 1,600 sketches to Ann Wilson's Faust Project while also taking part in dance performances.

In the same year, he moved to Amsterdam where he shared a studio with artist Sebastian Holhuber from Vienna.

A year later, he moved to Cologne in Germany and married Donata Dengler, who gave him two children, Lovis and Celine. He spent six years in Cologne, where he was involved in Robert Salomon and Mathias Von Welck's dance performances and taught slow motion movement at a model agency.

Teguh might be a famous painter and sculptor but not many know he took part in 27 performing art collaborations, stage and lighting designs around the world since 1978. These experiences inspired him to direct a dance composition titled Biarkan Mereka Menjamah Langit (Let Them Touch the Sky) at the Jakarta Archive Building in 2000.

But the year 1988 was perhaps a turning point for him, as he was forced to take the most difficult decision of his life and return to Indonesia for good.

"At that time, I was 38 and thought I would be too lazy to move back there at 40," said the man, who owns Bilik 3Dharma studio in Cilandak, South Jakarta.

Teguh never considered himself merely a painter or a sculptor. He thrives on exploring different media and materials, ranging from the conventional pencils, pastels, oils, acrylics to the more experimental ones.

His adventurous spirit took him back to Berlin in 1989 to witness the fall of the Berlin wall, of which he bought four sections for an installation in Jakarta.

After the May 1998 riots, he became intrigued with video and made a number of video art pieces.

Teguh, whose life art historian Barbara Asboth penned in 2000 in a book titled Transcending Time, believes art is like religion.

"If you are creative, you create your own dogma. If you are not, you need a dogma from other people," he said.

The creativity of many people, he said, was killed as early as their childhood. "Our parents forbid us to make any mistakes and if we do, they usually blaming someone else rather than teach us not to make the same mistake," he said.

He believes creativity does not differ much from naughtiness.

"Only those who are naughty enough can go beyond their limits," he said. "If I hadn't been this naughty, I wouldn't be where I am today."

Ani Widyani Soetjipto: Women in politics

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Tue, 04/21/2009 2:16 PM | Lifestyle

For lecturer and activist Ani Widyani Soetjipto, the 2009 legislative elections were a big loss for the women's movement.

They were a real political loss, as female candidates who many were former activists failed to win the elections, she said.

"It turns out what we called the women movement is really fragile. Many activists have been working at the grass root level for decades, which is supposed to be the place to raise awareness among constituents and get votes," Ani explained.

"But the election results appeared to show there was no correlation between years of work at grass root level and actual voter support. It's very sad."

The woman who co-founded the University Network for Free and Fair Elections (Unfrel) in 1998 said women and civil society movements in general needed to reassess their strategies before deciding on any kind of policy intervention.

"What we don't have is the determination to stay in the course of the struggle and we don't have the people's mandate either. That's why the women's movement is easily shaken," she said.

Ani, who gained a master's degree in international studies from the Jackson School of International Studies, University of Washington, Seattle, said a better problem-mapping and role sharing between the movement's stakeholders could create better coordination and synergy.

"But we know the women's movement has very diverse agendas and interests," said the 48-year-old woman. According to Ani, although many activists became involved in community economic development, their intervention was not successful at gathering votes for the elections.

"We are assuming when the people are economically independent, they are able to cast their vote independently. It doesn't seem so. I guess many people who have empowered themselves economically have not done so in a political context," she explained.

For a long time, Ani has been advocating the 30 percent legislative seat quota for women since she became the head of the women's division at the Centre for Electoral Reform (Cetro) in 2002.

One of the obstacles the women's movement faces - when pushing its political agenda - is opposition from activists fighting against the state, she added.

"There is always tension between those who want to disengage from politics and those who want to take part in shaping politics."

There are at least three solutions to such a problem, Ani said, adding that prior to deciding which course to take, the women's movement needed to reassess itself in a holistic way in order to prevent the movement from failing again in future elections.

The first option is to withdraw from politics for a while to rebuild political power from the grass root level.

The second option is to reconfigure how constituents engage with and support a number of select activists that play a role within a party or in the House of Representatives. Such support should be a full package from supplying them with conceptual ideas to financially supporting them.

"We have seen that without money, many activists struggle to manage their campaign and maintain their connection with their constituents.

"It *support* can't start only one or two years before the elections. It has to start now if we want to see changes in the 2014 elections. It has to be a long-term, systematic and localized support for selected activists that will be expected to become the agents of change," she said.

The third option is full intervention at the legislative, executive and judiciary levels, said Ani, adding any intervention at the national level always had a bigger impact.

"However, we have to be prepared for the risk of total failure at any level."

The women's movement has had little impact at the executive level since early political reforms in 1998.

"We have no control whatsoever at the executive level. Even if the House speaks as loud as it can, the executive won't listen."

The movement needs to ensure its candidates have integrity and are competent enough to be appointed at the executive level.

Participating in parties' internal reform is also another option, said Ani, because parties are at the upstream level of the political process.

The House will not improve until parties reform themselves, said Ani, who in 2008 successfully pushed for the adoption of affirmative policies for women in parties and election laws. Many activists have been preoccupied with their democratization work and failed to notice the state was still repeating some of its old antics, she said.

"What we see is the recycling of political elites. We see the same faces. The old enemy returns with a new face while we are not ready to face it." If the women's movement did not immediately come up with a common strategy to tackle the current political situation, the movement would fail once again and gain nothing from the political process, she said.

Although many women had already enjoyed greater opportunities to emancipate, said Ani, they still faced cultural and structural challenges. Therefore women should not be perceived as already equal with men.

"Cultural intervention is a long-term process because people's mindsets have to change. In order to accelerate it, we must intervene at the structural level by supporting passing laws and regulations ," said Ani.

"They could speed up the process."

For Ani, who has already had years of experience fighting for women's rights, celebrating Kartini's day is about remembering the essence of her struggle.

"The issues she fought for, like education for women, economic empowerment as well as political representation or the issues she fought against, such as polygamy, are still relevant. These issues are even more complicated now and we still have to do something about them."

Friday, April 17, 2009

Elena Surdu Stanescu: Sculpture deeper than face value

Matheos Viktor Messakh , The Jakarta Post , JAKARTA | Thu, 04/16/2009 12:43 PM | People

(JP/R. Berto Wedhatama)(JP/R. Berto Wedhatama)

Elena Surdu Stanescu likes to speak of her mind. The debut of her work in the country is not the only reason why this Romanian sculptor is thrilled to be in Indonesia.

She is excited by the country’s rich tradition of sculpture, which she refers to as a personal “spring of inspiration.” But, at the same time, she laments the poor preservation and development of the country’s artistic heritage.

With just a few days in the country, the 67-year-old artist and art critic has noticed the Indonesia’s diverse and rich wooden sculptures, which although probably familiar to many people, go unnoticed.

“There are lots of symbols and a variety of traditions. A huge cultural background has been imported into the sculpture tradition here but I believe that Indonesia fails to explain its own cultural heritage to the world…,” she said. “You have a lot more to show.”

Stanescu said that before she came to Indonesia for her exhibition, she visited the Indonesian embassy in Bucharest to find information about Indonesian art - but to no avail. “They had just held a tourist exhibition and ran out of books about Indonesia.”

The prominent Romanian artist, who has had more than 50 solo exhibitions around the world, said the main problem with the development of Indonesian art is not its substance but its management.

“I saw a lack of cultural management and there use to be the same problem in Romania after the fall of Communism. Financial problems and lack of knowledge on how to do a cultural event, how to promote or represent an artist at an international level is a main cause,” said the woman, who was once a director general of The Romanian Ministry of Education’s art department.

Stanescu said Romania solved their problem relatively easily as they had the great fortune of being able to learn much from their European counterparts.

“It was quite easier for us because Europe is much more interconnected and the distance is not that big,” she explained. “But Southeast Asia is not that much integrated.”

What Indonesia needs to do, she said, is simply to improve cultural management. “Because the substance is there, the artists are there, they just need to get better management.”
Stanescu praised the existence of the puppet museum but she said the knowledge of how to make puppets should also be preserved.

“It’s a pity that the wooden carving was not given the same treatment. Where is the wood museum, craft museum? Indonesia has a very strong and very rich tradition of wood sculpture but there is no museum of traditional working techniques, especially in wood.”

The woman, who organized an international art competition in Bucharest between 1992 and 2000 also criticized Indonesian’s museums, as she says that while they are beautiful and have large halls, many of the rooms are empty.

“I have been to a fine art and ceramic museum recently and three big rooms there are just empty. It can be better if you rearrange them,” said the woman who owns Bucharest’s Fundatia Culturala Elena Surdu Stanescu, a cultural foundation which organizes exhibitions and cultural exchanges between French, Italian and Romanian artists.

Born in Bucharest on Sept. 15, 1942, Stanescu finished her study in fine art at the Institute of Pedagogy’s faculty of fine art in Bucharest in 1965 and then became a teacher of sculpture, a position she held until 2000.

In 1980 she studied sculpture at the Nicolae Grigorescu Fine Arts Academy in Bucharest and ten years later became a full member of the Romanian Union of Plastic Artists.

She has also been a member of the International Society of Artistic Education Teachers of Insea-Unesco since 1970 and is the founding member of the “Elena Teodorini” Foundation.
Her works have become part of private collections in France, Italy, Malta, Switzerland, The United States, Hungary, Romania and Ireland.

Her works of art – in clay, wood, bronze and marble – with titles like Taking Flight, The Art of Conversation, Moment’s Thought and Erosion of the Thought, always come out of deep meditation and love and point to the multi-faceted nature of the human mind.

“I’ve always loved watching human faces, the emotions and the expressions. They form the basis of my craft,” she explains.

Stanescu said Romanian artist Constatine Brancusi influenced the modernity seen in her work, which is combined with a strong influence from classical Egyptian and Greek art.

From the age of 20, she has traveled extensively throughout the world and this experience has
created what she calls an “interior laboratory.”

“All the images that linger in my head are the most influential in my life than the other antique or classical influences. They are reminiscent of me. If I see a beautiful legs or beautiful hand, or beautiful idea, they do not immediately translate into a work of art but they will eventually come up later.”

Stanescu says her works are always personal.

“I’m getting the idea from one side or the other but I decide my own path. What lies ahead, I don’t know, but what always matters to me is to express my true feelings.”

“It’s the only way you can communicate with the public. If you try to create an art work that does not express your thoughts or your feelings, the public and the critics will eventually realize that it is something fake and that you are not connected with it.”

From Romania with love

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Thu, 04/16/2009 2:17 PM | Lifestyle

With more than 45 years of artistic endeavors under her belt, Romanian artist Elena Surdu Stanescu decides to play with universal symbols of love, affection and spirituality for her Jakarta exhibition.

The artist's works have been displayed in major galleries in Romania and abroad - from Asia to North America - but this is her first exhibition in Jakarta, and in Southeast Asia.

A series of torsos of man and woman in deep love and affection titled Couple, a series of torsos titled Beach and a series of graphics titled Birds, as well as bird sculptures, and windows with curtains are on display at the exhibition titled "Soul & Light", and have been brought all the way from Bucharest, Romania.

Like most of her works, the recurring motifs in Stanescu's pieces at the exhibition, held in cooperation between the Romanian Embassy and the French Cultural Centre, are human emotions.

"My works deal with life and love," she says, pointing to sculptures depicting couples in various moods.

Stanescu plays with universal symbols of love, affection and spirituality through the form and material of her works.

Her use of birds symbolizes the departure from the real world into a spiritual dimension; windows also symbolize communication or transcending to another dimension, while man and woman symbolize love.

"Nudity is a universal symbol of beauty; birds are general symbols of departure throughout the whole history of art. Birds are also symbols of silence and purity," Elena says, citing Pablo Picasso's Dove of Peace as an example.

"Woman and man are natural representations of love. It's easy to observe, which makes my art more accessible. Audiences will easily realize men and women mean love. Of course, there are other symbols of love but you can't make it any more obvious than men and women.

"If we symbolized love with man and man that would not necessarily be a symbol of love. It could be a symbol of sexual freedom, or of human rights, but it would not focus on love as a general symbol and as a normal way of perpetuating the species."

Stanescu's human figures never have complete bodies. The removal of some volume in sculpture is influenced by Greek sculptural elements.

"In sculpture, you talk of volume. The cutting off of some volume also represents a detachment from the real world. The idea is that the body is not eternal but the emotions are eternal. That's why you can easily cut some part of it. It doesn't matter, it will disappear anyway, but the sentiment will always be there. It sends the message that they don't have to look at the body to understand the soul, to understand what is behind it."

Stanescu emphasized that dimension of spirituality has been missing from the cheap, commercial presentation of art.

"Apparently some works of our contemporary artists tend to circle the same idea of sex. While they present embraces, the author endows it with an interpretation that does not deny sensuality but orientates toward tenderness, and to spiritual living," she says, quoting a well known Romanian artist and art critic, Adina Nano.

In some of her Couple torsos, Stanescu used silver as the material for man, symbolizing moonlight and creation, while using bronze as the material for woman, symbolizing warmth and life.

While mixed materials have their own meaning for the sculptures, Stanescu has always included what she refers to as "graphics" in her exhibition. Stanescu feels sculptures and graphics perfectly complement each other. She says graphics should be included because they are part of the process.

"It is the beginning of an idea. It's very difficult for me to separate them as art works. I always make a sculpture by referring to a graphic," she explains.

Like in many of her works, Stanescu's collection of the Couple torsos has a strong connection to her personal life. Since her husband died of illness at the age of 75, four years ago, she mostly creates human figures in couples.

"He was the love of my life and our 54 years of marriage were the best years of my life," Stanescu recalls.

Stanescu's artworks are not only a self-expression but also have taught her about life. Art has become a spiritual process for her, as deep as the commitment she brings to it. All her experiences feed her art.

"Soul and Light"

A Sculpture and Graphic Exhibition
By Romanian Artist Elena Surdu Stanescu
April 7 to 20, 2009
French Cultural Center
Jl. Salemba Raya 25 Central Jakarta.

Wednesday, April 08, 2009

Music meets politics

Matheos Viktor Messakh , THE JAKARTA POST , JAKARTA | Wed, 04/08/2009 12:54 PM | People

JP/Matheos V. MessakhJP/Matheos V. Messakh

Tere might seem like an unlikely candidate for the nation’s legislature, but the 29-year-old singer insists she is not just another celebrity dabbling in politics, whatever the skeptics say.

Tere says her political sympathies lay with the Democratic Party and its leader Susilo Bambang Yudhoyono even before Yudhoyono became president in 2004. However, she had no plans to run for office until she joined the party’s forum for female artists early last year – around the same time the election law was made requiring parties to ensure 30 percent of their candidates were women.

“The first and foremost reason I joined the Democratic Party is that Susilo Bambang Yudhoyono is the central figure, and since I’ve gotten to know more about the party I believe that it is a middle-of-the-road party that can look after a range of interests.”

Although the quota may not hold since the Constitutional Court made changes to the election law, Tere says the regulation triggered her decision to put herself forward as a potential candidate.

“For me, I see my participation as part of my social responsibility as a woman and a citizen,” she says.

The 2009 legislative election has attracted a sweep of singers and actors to politics, with 61 such celebrities among the total 11,512 candidates across the country.

Tere is forthright with her view of the current batch of lawmakers, pointing to their “lack of goodwill” and “tendency of looking for economic benefit”. “The formulation of the law and the Constitution is in their hands. I think we need a higher standard for the quality of lawmaker.”

She hopes that better quality politicians will also be able to achieve political balance between the branches of government.

“It’s disappointing that when the executive has been making some positive efforts, the legislative had been getting a bad name. It’s a shame we can’t manage to bring balance between the two.”

Her main political concern, she says, is for education, and especially the empowerment of women and children. Her first act if elected will be to launch a campaign against the new law on BHP.

“The new law is about making education more and more a commodity, which means it will fail to emphasize character building,” she says, adding that the Democratic Party will support her in this.

Tere, whose full name is Theresia Ebenna Ezeria Pardede, started her career as a backing singer for various bands. She reached stardom with hits such as “Awal Yang Indah” (The Lovely Beginning), and recently released her fourth album. All this, she says, is not as far removed from politics as some might suppose.

“My background as a musician and my studies in communications do have some relation to politics. Politics cannot be perfect without communication skills, which include diplomacy, negotiation and persuasion.”

Her only criticism of the Democratic Party is the management of party’s lowest levels, “but,” she says, “I think it’s a classic problem for a new party”.

Tere is the Democratic Party’s top candidate for election region II West Java (Bandung and Bandung Barat Municipality), where she is up against such political heavyweights as Taufik Kiemas, Ferry Mursidan Baldan, and actors Rieke Diah Pitaloka, Rachel Maryam Sayidina and Derry Drajat.

But being an underdog doesn’t bother her because for her, it isn’t about winning. “From the very beginning I have seen myself as someone who doesn’t want to gain a seat so much as wanting to educate people that everyone has the right and access to politics.”

Therefore, she has “nothing to lose because my main intention is to bring political education”. As such she has made no special preparations for the election except “mental preparation and trying to be creative and optimistic”.

Indeed, she doesn’t even refer to her activities over the past several weeks as a political campaign. “What I was doing is not a campaign. I studied communications and I know that a campaign needs a sponsor and lots of funding, involving the mass media.”

In all, she has spent only about Rp 10 million (US$890) on her campaign, mostly to produce notebooks and name cards; she believes posters are “useless”. “What’s the point of displaying our posters among 11,512 candidates from 38 parties?”

Instead, she has been spending her time visiting people in her electorate.

“I mostly talk to them about their concerns, about what they need, but I did not hold any mass meetings. We usually choose a particular place which we think didn’t come to the attention of other candidates and speak to people there.”

She uses these meetings to inform people about the role and function of the legislature and how to vote, rather than trying to persuade people to vote for her.

“Because my main mission is political education, I’m not doing a lot of persuading,” she says. Rather, she tends to talk about the party and its leader.

She believes in political education, and is disappointed political parties don’t do much in this regard, simply pushing their agenda near election time.

But if she does find herself with a more permanent role on the political stage, it will be the only stage she treads; she will move behind the scenes of the music industry.

“For me the configuration of the music industry is not too different from the configuration of politics,” she says. “If I am elected, it’s no big deal for me to become one of the people behind the scenes of the music industry.”

Tuesday, April 07, 2009

Steven Starr: For love of water

Matheos Viktor Messakh , THE JAKARTA POST , JAKARTA | Tue, 04/07/2009 12:04 PM | People
JP/J.B. DjwanJP/J.B. Djwan
Bob Marley’s anti-war activism was an inspiration for Steven Starr, but the US filmmaker went one step further, taking on a problem that causes more deaths worldwide than war: Lack of access to clean water.
Starr first met Marley in 1978; he became the concert promoter for Bob Marley & The Wailers and worked with the Marley family on various projects for 20 years, which, he told The Jakarta Post, was an experience that “changed my life”.
“Something in me shifted and from that point on all the work I have done has taken the form of helping people to express themselves, to find a way to communicate with others and to solve problems.”
Starr was in Bali and Jakarta last week for a lecture and screening of the award-winning film he produced, Flow: For Love of Water, a feature-length documentary about the global water crisis by French-born American director Irena Salina.
Starr, born on Long Island in 1957, studied media at university, before going on to build a career at William Morris Agency. He left the agency in 1991 to produce Johnny Suede, which won the Golden Leopard at the Locarno International Film Festival. His other credits include writing, directing and producing Joey Breaker, which won an Audience Award at the Santa Barbara International Film Festival, and the Ace Award-nominated series The State for MTV and CBS, which he co-created and produced.
He became well known for his approach to media democratization. As well as co-founding the Los Angeles Independent Media Center, Starr founded AntEye.com, a user-generated video site where video creators, voted for by their peers, were awarded micro-pilot budgets, and ChangeTv, a user-generated digital cable network designed to filter online video onto cable and reward creators.
One of Starr’s most acclaimed projects is Revver, a video-sharing website launched in 2005 that helps creators make money from their work by attaching short ads to their films. In 2006, Revver was named the Most Influential Independent Website by Television Week, nominated for an Advantaged Technology Emmy Award and praised by Red Herring as one of the 100 most promising startups.
“I’m a crazy man,” Starr said of his innovative projects. “I tend to approach a project from whatever curiosity I have.”
In June 2007, Starr stepped down as Revver’s CEO to concentrate on the postproduction of Flow, which he and Salina had begun in 2003.
“It was the time when all the filming has been finished and we have to do the postproduction work. It requires a lot of attention and focus and we were hoping that we might be invited to Sundance Film Festival. We really wanted to make sure it came out well.”
The film, released in cinemas on Sept. 12, 2008, premiered as a Grand Jury Prize nominee at the 2008 Sundance Film Festival. It has won numerous festival awards, including the International Jury Prize at the Mumbai International Film Festival and the Grand Jury Award for Best Documentary at the United Nations Film Festival.
Part of Flow’s success, Starr said, was “because many people are now using the film as an awareness tool”. As such, it was screened for the UN General Assembly on the 60th Anniversary of the signing of the Universal Declaration of Human Rights, and triggered a call for people to sign a petition seeking to include access to clean drinking water as a basic human right.
“We are lobbying them to open up the Universal Declaration of Human Rights, which was written in the late 1940s in a time when water wasn’t even a consideration,” Starr said. “There is no mention of water at all in the articles. It is the single most important substance on the planet and our future is at stake.”
The 84-minute film maintains that the privatization of fresh water is unethical, a topic that Starr discusses passionately.
“Absolutely the film is anti-privatization of water. When you turn water into a commodity, your
responsibility is to shareholders and not to the people who need it,” Starr said.
“You can’t rely on commercial interests for your water supply: Water is more than commerce, water is life. If you hold up a bottle of water and you hold up a little bottle of gasoline — which do you think costs more?”
Flow not only identifies the problem and names the culprits, but also looks at the people and institutions providing local and practical solutions.
“Many issues around water are extremely local but the crisis around the world is similar: Limited water supply. It is not reaching the people who need it the most, and there are corporate interests that are aggressively trying to gain control over the local water supply.”
Starr hopes that the film will educate people about the planet’s water crisis, pointing out the film itself was never a for-profit venture.
“A documentary is an active passion. If you want to make a documentary, it cannot be from a hope to make money. It has to be from an opportunity to do something useful for others,” Starr said.
“The only reason we picked up our camera is because we wanted to learn, to answer a question. So you have to have a really good question and a lot of passion to carry you through whatever it takes to run around and get your question answered.”

Wednesday, April 01, 2009

Tience Sumartini : On the wings of a dream

Matheos Viktor Messakh , The Jakarta Post , Jakarta | Wed, 04/01/2009 2:57 PM | People


Tience Sumartini is one of those lucky people who can build their businesses around their passion - in her case, flying.

Tience fell in love with flying when she was about 26. One day, in the late 1970s, she and her husband saw a glider in the sky. They followed the glider to where it landed, and asked the pilot for more information about gliding.

Later, with a group of friends, they set up a club and hired professional gliding instructors so they could learn in their free time.

So in the 1980s, when many housewives passed their time in malls or salons, Tience Sumartini hung out with her friends - mostly men - at Pelita Airport in Pondok Cabe, Tangerang.

"We really wanted to be pilots but we couldn't go to Curug flying school. Most of us had our own jobs and couldn't be locked up in a dormitory such as in Curug, so we hired instructors."

Tience did her first solo flight in a glider at Pondok Cabe in a schweizer aircraft. "I remember the instructors didn't tell us about it in advance so I was very nervous. But I did it anyway."

Two years after learning how to fly a glider, Tience went on to train to become a pilot of powered aircraft.

Her passion for flying also led her to learn how to make her own aircraft - she has built three planes - as well as set up a series of aviation-related businesses, such as PT ATS Buana Airtech, a company for aviation engine components. She also owns five private aircrafts, currently parked in Australia.

A busy schedule means Tience, now 55, has not flown for a while - her pilot license has expired - but her heart is still firmly within the aviation world.

So she did not hesitate when her colleagues and former Garuda Airways directors Robby Djohan and Wiradharma Oka asked her to join them in establishing a flying school in Bali.

"I had always dreamed about this flying school but it never happened because I was busy with a few businesses," she says. "I agreed to be part of it because I knew they were not only businessmen in aviation but also liked flying. Working with people who are passionate about what they are involved in means we speak the same language."

Tience, who is on the Indonesian Chamber of Commerce and Industry's advisory board, says that despite a series of accidents and the current economic crisis, the aviation business climate remains strong because of the nature of the country and people's need to travel. Airlines have failed because of poor management, rather than decreasing demand, she says.

"Not all *airlines offering* cheap flights are managed badly but one should question why a flight is so cheap," she says. "The worse thing is if they cut down on maintenance, which is vital, to be able to win the price war."

Tience says that, according to world aviation data, the number of air travelers has been increasing: In 1998, six million people flew, while in 2007, 30 million did.

"We are as big as the US but we are archipelagic country," she says. "There is no choice if more and more people need to travel fast. They need to save time no matter what the price is. They can't spend days at sea."

Although there are several pilot schools in Indonesia, with about 140 pilots graduating each year, Tience believes the country "actually needs 400 pilots a year".

"Take for example Garuda Airlines, which is now in the process of purchasing 50 Boeing 737 new generation aircraft and 10 Boeing 777 aircraft. It will need more than 200 pilots."

The quality of pilot schools is another reason for her interest in setting up her own.

"What can we expect from schools that do not have their own runways and have only a limited number of airplanes and instructors?" she says. "The only thing they can do is to wait for their turn to use other people's runways, which of course lowers the quality of their training."

After about two years of preparation, the Bali International Flight Academy (BIFA) was opened in February. Twenty-one students have enrolled as the first batch of cadets, including one from the UK.

The academy offers the 16-week Private Pilot's License course, which qualifies graduates to fly a single engine aircraft in the noncommercial category, and the 48-week Commercial Pilot's License course, after which a pilot can fly professionally.

BIFA has its own training facilities at Letkol Wisnu Airfield, 65 kilometers west of Singaraja in Buleleng. The 7,000 square meter complex includes an aerodrome, a training center, a hangar, a dormitory and the latest generation of Frasca 142 flight simulators, which meet the US Federal Aviation Administration standard.

The academy, which is certified under the directorate general of civil aviation and the International Civil Aviation Organization, has a fleet of five Cessnas; 10 more will be provided by the end of the year.

The school hopes to gain international recognition immediately.

"I believe in less than 10 years we will able to attract students from all around the world to enroll in the academy," Tience says. "We must prove that we can sell more than just maids to the world. We can also sell pilots."

How the stars stay in shape

Matheos Viktor Messakh , THE JAKARTA POST , JAKARTA | Wed, 04/01/2009 12:57 PM | Body & Soul
Stay in shape: Actress and director Lola Amaria goes to a gym, practices yoga and consumes balanced diet to stay in good shape. JP/Berto WedhatamaStay in shape: Actress and director Lola Amaria goes to a gym, practices yoga and consumes balanced diet to stay in good shape. JP/Berto Wedhatama
We might forget it sometimes, but celebrities are human too. Like the rest of us, they have to work hard to stay in shape, even as daily pressures, professional requirements and advancing years work against them.
And even though they have different strategies for staying fit and healthy, a common theme emerges – that no matter how busy you are, you should always find time to look after yourself.
Actress and director Lola Amaria, who once had to pile on six kilograms for a role, stays in shape through regular gym workouts, yoga and a balanced diet.
Lola joined a gym near her house in Bintaro, and tries to get there for a workout at least two or three times a week. But even if her busy schedule makes getting to the gym impossible, the Ca Bau Kan star still makes sure she does some kind of exercise every day.
“It doesn’t have to be excessive physical activity,” says Lola, who shifted her extra weight by jogging daily for six months. “A brisk half-hour walk every day will keep you healthy.”
The actress also finds yoga an important part of her routine. She learned yoga about five years ago and still practices it regularly. “It’s good for stress release,” she says. “Initially I was helped by an instructor but now I do it by myself at home.”
Yoga, she says, makes her more relaxed during the everyday life, “especially you get stuck in a traffic jam”.
Getting the recommended amount of sleep is generally out of the question for the busy filmmaker, so she naps when she can. “I try to sleep at least six hours a day but it’s quite impossible, so what I do is I have a little sleep in between, in the breaks.”
And when it comes to what she puts in her mouth, Lola admits she is very strict, and rarely touches greasy food or junk food. “If possible, eat fruit and fresh vegetables at least once each day,” she says.
She points out that vitamins and supplements are helpful for people living in a polluted city, but adds that even those who have no faith in supplements can do themselves a favor by consuming fresh and healthy food and drinking lots of water.
“Nutrients are not only from capsules,” she says. “We can get them in fresh water or fresh food.”
Actor and presenter Ferdy Hassan is one of the many celebrities who work with professional personal trainers to stay in shape.
As he entered his 30s, Ferdy noticed something common to pretty much everyone: His body was changing, and he needed to take action.
“I realized that as I’m getting older, it’s not as easy to control my weight,” Ferdy says. “That’s why I need a trainer.”
The 36-year-old, who never fails go to the gym at least twice a week, has followed a regime for two years, in which his trainer helps him with complete body training and dietary advice.
Ferdy had joined a gym in high school but then quit. He didn’t give it another go until his weight exceeded 90 kilograms. It took him four months of tailored workouts to lose 10 kilograms.
“I have tried many ways to lose weight but the gym is the most effective. After doing exercise, we can focus better on other things,” he says.
“We often can’t be bothered to exercise but believe me, you will feel so much better if you do it. There are lots of good effects. It’s also a life investment for us.”
In short, he says, “If you love your family, then do your exercise.”
He also finds reflexology beneficial, calling a massage therapist to his house in the Blok M area in South Jakarta about once a week. “All the reflections of our physical health are in our feet,” he says. “When you are getting [a massage], you fall asleep and when you wake up, you feel much more relaxed and refreshed.”
Ferdy does not worry so much about his diet, but when he feels he has been eating too much fatty food, he makes an effort to balance his diet, although that doesn’t stop his love of eating.
“I’m Sundanese and I like to try anything,” he says.
Similarly worried by the way his weight crept up with the years, actor and presenter Farhan also hired a personal trainer almost two years ago, shocked into action when the scales tipped 95 kilograms.
It took him about a year to get into the habit of doing jogging, weightlifting and crunches for 30 to 60 minutes a day.
“I needed a trainer at the beginning but now I do it myself,” says the star, who believes that when we’re young we can do whatever we want, but have to “pay everything back
after 30”.
The first thing that needs to be paid back, he says, is our diet. “I rarely eat rice at the moment,” he says. “I skip carbohydrates, sugars and meat. My friends say I’m like a goat that eats lots of vegetables but fortunately I never get constipated anymore.”
As part of his new healthy lifestyle, the 39-year-old also skips alcohol and cigarettes and always gets to bed early. “I only bergadang [stay up late] if I really have to,” he says.
But the gym and other forms of indoor exercise are not for everyone. Jazz singer Syaharani prefers to head for the great outdoors to stay fit and healthy.
Courtesy of QueenfireworksCourtesy of Queenfireworks
“Fitness is boring,” the 37-year-old says baldly. “Our space is limited and we repeat our movements like ironing.”
A brisk early morning walk is Syaharani’s favorite fitness habit. Three to four times a week, she heads out in the early hours for a walk around her housing complex in Bintaro, South Jakarta.
When she finds time in her busy schedule – about once every two or three months – Syaharani and her friends get together to go hiking or trekking, most recently in Curug Panjang in West Java.
Also beneficial to her health, she says, is meditation, which she learned years ago when she lived in Bali. “I do it as much as possible because it’s simple but it clears your mind. Mediation and stretching the body … make us relax because they maximize the oxygen in our body.”
Syaharani says that when she moved from Bali to Jakarta in 1995, she stopped meditating, and noticed big changes in her daily life.
“I was trying to work out why I got tired and bored so easily,” she says. “Then I took up mediation again and I felt better. Mediation is good and it works for people in all sorts of professions, especially for a singer like me.” She now wants to learn more about yoga.
Syaharani likes to eat but she recognizes the importance of staying in control.

“I always remind myself that eating is not only for enjoyment but also for the needs of the body,” she says. “If in a week I have been having too much fatty food, I will balance it by having fresh fruit and vegetables.”
The singer especially likes mushrooms and broccoli because they are high in antioxidants and easy to prepare. “I always buy them when I go to the supermarket or ask for them if I go to a restaurant.”
For Syaharani, who has a medical checkup at least once a year, the first step in keeping healthy is stress management. “Stress contributes a lot to health problems,” she says. “Everybody has their own way of dealing with stress but they have to do it immediately.”
The second step is to do light exercise and the third is eating properly, she says. “Never skip breakfast because when you busy in the day, you will forget everything.”
Too many people lead lives that are out of balance, she says – overeating and under-exercising, often because they are under stress and use food as comfort.
The most common mistake, according to Syaharani, is focusing on appearance rather than on health.
“In fact, the important thing is your behavior: Stay active, eat right and feel good today,” she says. “The results will follow.”