Saturday 27 July 2013

The Learning Wall at Kampoong Babakan

Tembok Belajar di Kampoong Babakan


"It is not what you see that is important but what takes place between people."-  Rirkrit Tiravanija

Kutipan diatas diambil dari seniman dunia berasal dari Thailand yang percaya bahwa seni mampu berkoneksi langsung dengan kehidupan bermasyarakat. Kata-kata Rikrit layak disandang oleh sejumlah individu dan kelompok seniman street art dari Bandung, Jakarta dan Tangerang yang beraktifitas di kampoong Babakan, kelurahan Binong, Tangerang.

Sejak Mei sampai Juli 2013, secara periodik, sekelompok-demi sekelompok mereka melabur, “men-tag”, melukis, dan “men-stencil” tembok rumah-rumah warga, yang pada tiga dekade ini menjadi situs pemukiman penduduk beretnis asli Sunda yang “terpinggirkan” karena  hadirnya kota-kota mandiri (clusters).

Poster The Learning Wall by Agenkultur

Mereka melakukan kegiatan street artnya dengan berempati pada tema yang dianggap urgen di kampoong itu, yakni menyoal kebutuhan pendidikan dasar bagi warganya. Mereka sebut proyek seni ini dengan Tembok Belajar.  

Tema awalnya disodorkan oleh dua kelompok komunitas seni sebagai penggagas utama project, yakni Agenkultur di Tangerang dan Jakarta Art Movement (JAM) di Jakarta.

Dengan membangun konsep lewat pertemuan-pertemuan intensif secara berkala antar dua komunitas sejak awal tahun. Kemudian, berdiskusi, memilah dan memilih kelompok-kelompok seniman dan menetapkan strategi bentuk seni serta membuat perencanaan untuk mengeksekusi di kemudian hari. Tentunya, dengan menimbang kondisi dan potensi di masyarakat kampoong lewat serangkaian survei. 

Artist: Ari Ardome
Photo: Indah Ariani

Proyek seni ini merupakah langkah pertama dari program berjangka panjang yang diniatkan bisa mewujudkan kampoong Babakan menjadi “Kampoong Edukasi”. Sebuah cita-cita tentang kampung yang tetap kreatif dan percaya diri, meski “terisolir” oleh tembok-tembok pembatas “fisik maupun psikis “.

Karena tepat berada ditengah-tengah pembangunan kota-kota mandiri di Tangerang yang berjejal, bertumbuh sampai hari ini—dalam bentuknya yang nyata adalah pembangunan perumahan-perumahan baru yang dibangun oleh para developer besar disekitar wilayah kampoong.   

Kampoong Babakan, Agenkultur dan JAM

One of housing clusters near the kampoong area
Photo: Agenkultur

Problem terbesar dari kota-kota di Asia, termasuk Jakarta adalah meledaknya jumlah populasi  dan pembangunan kota yang  tidak terkontrol. Menggelembungkan skala kota menjadi gigantik. Bertransformasi menjadi kota megacity dengan lebih 10 juta pemukim.

Yang akhirnya membentuk kota-kota satelit/ penyangga, seperti kota Tangerang dimana kampoong Babakan berlokasi—dengan masalah yang sama dengan Jakarta: berkembang tanpa kendali. Kota Tangerang, yang berjarak 25 km dari pusat kota Jakarta harus mengalami nasib serupa.

Penulis seperti Mike Davis dibukunya yang fenomenal Planet of Slum satu saat menyatakan "for the first time the urban population of the earth will outnumber the rural. Indeed, given the imprecisions of third world censuses, this epochal transition may already have occurred".

Transisi memang sedang terjadi, seperti kata Mike Davis, pemukim wilayah perkotaan jumlahnya membengkak. Dampak nyata adalah terdesaknya kampung-kampung asli yang memiliki tanah ulayat sebagai warisan, dan telah digadai serta “di- kota-kan”.

Mereka mengalami "segregasi budaya" dan proses "pengucilan ekonomi", setahap-demi setahap dari habitus aslinya di kampoong.

A wall separating the housing cluster with area of kampoong
Photo: Agenkultur

Salah seorang warga kampung Babakan, H. Nadji (70th) beretnis Sunda, pada sebuah wawancara mengatakan pada penulis bahwa pembangunan kota-kota mandiri telah terjadi sejak awal 80an.

Pertumbuhan kota Tangerang kemudian merebak pesat, menjadikan kelompok kota-kota mandiri di dalamnya meraksasa. Yang menyediakan fasilitas internasional seperti rumah sakit, perumahan elit yang ekslusif, universitas, pusat perkantoran, hotel dan belanja super modern.

Ironisnya segala infrastruktur hebat tersebut, tak bisa terakses warga kampoong-kampoong kecil disekitarnya. Fenomena ini, menggeser keberadaan kampoong-kampoong asli. Selain Babakan yang sudah terancam, seperti di kampoong Kelapa Dua, Bencongan, Kerubung atau Curug, sebagian penduduknya telah “hijrah” ke tempat lain. 

Nadji mengaku bersama keluarganya, selama tiga generasi mendiami kampoong Babakan—sejak sebelum kemerdekaan Republik Indonesia dikumandangkan.

“Dulunya, kita menggarap lahan warisan, bertani dengan menanam padi atau singkong dan berangsur-angsur beralih profesi”ungkap Nadji. Ia dan penduduk kampoong yang lain, sekarang terpaksa menyesuaikan diri dengan menjadi buruh pabrik atau bekerja di kawasan kota mandiri tersebut.  

Nadji menyebut, sekitar 25%, warga kampoong sampai sekarang masih bertahan sebagai petani. Untuk tetap survival, Nadji mencoba berbagai profesi baru. “Saya sendiri sekarang bekerja sebagai petugas keamanan di kompleks perumahan Karawaci” ujarnya.

Artist: Duo Coblon, Propagrahic Movement
Photo: Agenkultur
Dari data di pusat informasi di kelurahan Binong tahun 2012, wilayah  seluas  461,28 Ha (461 Km) yang meliputi  kampoong  Babakan, Cijengir, Galuga, Binong dan Peusar, memiliki problem kemiskinan dan pengangguran.

Kendala utamanya adalah rendahnya tingkat pendidikan yang membuat mereka tidak memiliki akses ketrampilan dan terserap bursa tenaga kerja. Sebagai tolok ukur, pada tingkat pendidikan terendah saja, pada usia 7-15 tahun sejumlah 2965 orang telah putus sekolah. Dibandingkan jumlah total sekitar 40 ribuan lebih penduduk, jumlah putus sekolah yang disebut belum seberapa. Angka diatas, belum dihitung mereka yang putus sekolah sederajat tingkat sekolah lanjut (SMU).   

Dari sanalah, organisasi nirlaba dan komunitas Agenkultur yang tumbuh berakar dari kampoong Babakan mendedikasikan diri, membuka kelas-kelas pendidikan non formal. Membantu para pemuda putus sekolah.

Seperti yang dikatakan oleh pendiri komunitas sekaligus warga setempat, FW Pei “organisasi kita, yang bergerak di bidang sosial, pendidikan dan budaya yang dirintis dari 2003 telah membelajarkan lebih dari 1200 orang warga Kelurahan Binong yang putus sekolah dari beragam jenjang usia”. 

Ia menambahkan, Agenkultur mengembangkan program pendidikan non formal ini menjadi sebuah pusat pendidikan bermetode holistik yang disebut “Sekolah Perubahan” dengan menawarkan pula kerja dan praktik berkesenian, membuka ruang pendidikan lebih luas.

FW Pei lebih lanjut menerangkan bahwa ia membangun jejaring antar komunitas dan kerjasama yang intensif dengan institusi manapun,  dengan mempraktikkan metode berbeda seperti dijalankan pada proyek street art Tembok Belajar. Bersama komunitas Jakarta Art Movement (JAM) dan partisipan sejumlah kelompok dan individu-individu seniman street art.

One afternoon when young peoples gathered at the headquarters of Agenkultur
Photo: Indah Ariani

Sementara itu, JAM yang semenjak akhir tahun 2012 menginisiasi proyek seni di Kampoong urban, kerjasamanya dengan Agenkultur adalah aktifitas proyeknya yang kedua yang merupakan bagian dari proyek seni Kampoong Art Attack, yakni kerja seni di kampoong -kampoong di Jakarta dan daerah di sekitarnya.

Setelah hampir setahun JAM ikut serta pada pemberdayaan masyarakat dengan seni dan aktivisme sosialnya di kampoong rawan konflik horisontal—antar warga, di kampoong Johar Baru, Jakarta Pusat, JAM sampai hari ini tetap membuka kelas-kelas kreatif tari kontemporer dan stencil art bersama Universitas Indonesia, Departemen Sosiologi. 

Tembok Belajar dan Kolaborasi Street Art

Artist: ROAR
Photo: Agenkultur

Tema Tembok Belajar mengadopsi pada konsep standar dinding pengajaran, yang sering dipakai untuk materi mengajar sekolah di tingkat dasar atau primary grade. Kita akan menemu tembok-tembok warga di kampoong Babakan dengan karya-karya dari seniman street art berupa  gambar-gambar atau angka, buah dan binatang jenaka untuk memudahkan berhitung,  membaca, dan pengenalan berbahasa Inggeris dasar pada nak-anak.

Karya-karya di tembok warga juga menampakkan gambar manusia, semisal tentang tokoh ilmuwan dunia dengan gestur dan kata-kata yang mengingatkan, menghubungkan anak dengan lingkungan sekitar. Atau, bentuk tertentu yang menjadi permainan, membuat anak-anak bisa melihat, kemudian meresponnya dengan gembira. 

A community center at kampoong Babakan painted by mural style
Photo: Agenkultur
Kita juga akan disapa kata-kata yang sifatnya memotivasi untuk bangun pagi atau semangat berolah raga, merangsang sikap sportif dan jujur.  Hari Anak Nasional, yang diperingati pada 23 Juli 2013 di Indonesia sepertinya momentum tepat dengan proyek seni Tembok Belajar ini.

Kelompok dan individu street art yang berpartisipasi seperti ISAD, Propagraphic Movement, RoboWobo, Garis Keras Feat. Spik Lala, Rewind Art, Andi Rharharha, TSAF, JAH, ROAR, GIMS, Kampret Syndicate, Ardome dan Sadrax Lima Smile, Kampung Segart, Sekolah Komunitas Johar Baru (SKJB), Agenkultur Art Activist (AAA) memiliki cara dan metode yang berbeda satu dan yang lainnya. Namun, dengan semangat yang sama, mereka dengan karya seninya telah membantu sesama.

Artist: TSAF
Photo: Agenkultur

Dengan menggunakan teknik mural, stencil art atau wheat paste sampai tape art,  Kampoong Babakan telah menjadi kampung yang memiliki beragam karakter visual jenis street art.

Koordinator program dari JAM, seniman stencil art sekaligus kurator untuk project di Tembok Belajar, Selo Riemulyadi menyatakan bahwa ia masih konsisten untuk terus-menerus  membuka kemungkinan pendekatan praktik berkenian yang terhubung secara sosial via street art.

“Misalnya, kita mengkoordinasikan kelompok-kelompok street art di berbagai kota yang diterapkan di kampoong-kampoong bermasalah seperti kampoong Babakan ini” kata Selo. Ia menambahkan  bahwa street art sebagai bagian ekspresi seni yang dihela oleh semangat  kolaboratif memiliki peran lebih nyata di masyarakat.

Artist: Andi Rharharha
Photo: Agenkultur

Cara seniman-seniman street art yang bekerja pada proyek Tembok Belajar, seperti yang dilakukan Selo dan kawan-kawannya,  dengan berkolaborasi bersama, kerap disebut para pengamat seni sebagai  laku community based art, socially engaged art, seni partisipatoris atau sebagian menyebutnya aktivisme seni sosial.

Upaya menanggalkan batas-batas seni yang otonom, yakni  semangat kemandirian ekspresi estetik individu yang “di belenggu kuat” di dada berangsur-angsur dilepas untuk merangkul seni yang heteronom. Yakni, jenis seni yang lebih menekankan sifat komunalitas dengan karakter bentuknya  yang berpihak pada persinggungan lingkungan sosialnya.   

Dari seniman manca negara, sebagai misal,  kita bisa berkaca pada  praktik seni partisipatoris dengan seni kolaboratif, seperti misal kerja artistik kelompok Oda Projesi. Kelompok tiga perempuan seniman dari Turki, yakni Özge Acıkkol, Günes Savas dan Secil Yersel.

Pada salah satu proyek seninya, Oda Projesi meyewa tiga ruang di apartemen di daerah Galata, Istanbul. Mengadakan workshop bersama anak-anak dengan para tetangga, mengundang  seniman patung untuk berpiknik bersama sampai mengorganisasikan karnaval anak-anak dengan kelompok seniman teater. Gejala yang seperti ini, diteruskan selama puluhan tahun, dipentaskan dalam event-event penting Biennale dunia, seperti Venice Biennale.

Artist: JAH
Photo: Agenkultur
Sementara, dari perspektif para aktivis street art, sudah jamak bahwa era sekarang mereka membebaskan diri untuk merespon kemungkinan apa saja, dari daya artistik mereka di jalanan. Tak lagi berkutat membawa dan mengharuskan narasi-narasi besar sebagai arah kendali untuk berekspresi.

Beberapa tahun lalu, sebagai contoh, seniman street art Jace,  dari Perancis, melakukan kegiatan sederhana namun menyentuh:  mengadakan perjalanan ke kepulauan Madagascar dan tinggal disana selama beberapa bulan dengan orang-orang suku Anakao. Ia melakukan eksperimen seni bersama nelayan tradisionil setempat dengan perahu-perahunya.

Proyek ini disebut Jace sebagai pengalaman berbagi dan bergerak untuk warga lokal. Bekerjasama berkarya di tempat-tempat yang  dianggap Jace di daerah yang “tak tersentuh seni” dan tidak layak huni. Jace kemudian menuliskan pengalamannya di sebuah buku.

Menimbang pengalaman Jace, seni jalanan, telah membuka diri seluas-luasnya hari ini, dengan kemungkinan-kemungkinan  anyar. Bahkan, menjadi medium untuk mendorong semangat belajar bagi anak-anak sekolah dasar, seperti di Kampoong Babakan, Tangerang dengan proyek seni Tembok Belajar.  

Ini sebenarnya tidak mengherankan, karena sifat komunalitas, dari akar budaya di Indonesia yang karib dijuluki: gotong royong/ saling tolong antar warga telah hadir semenjak lama. Jauh sebelum “kesakralan seni modern dunia” yang bercorak individualis tiba.

Kita juga telah menyaksikan sejak satu dekade lalu, seniman-seniman individu maupun kelompok seni yang secara geografis disebut merespon budaya urban,  di Indonesia dan kota-kota besar seperti Jogjakarta, Bandung dan Jakarta makin marak melakukan kerja-kerja kolaboratif artistik serupa yang berdimensi sosial.


Bambang Asrini Widjanarko


Ketua Jakarta Art Movement (JAM) untuk proyek seni Kampoong Art Attack 2012-2013



The Learning Wall at Kampoong Babakan


A community center at kampoong Babakan before and after painted by mural style
Photo: Agenkultur
"It is not what you see that is important but what takes place between people."-  Rirkrit Tiravanija

Statement by world-renowned artist from Thailand seemed appropriate to give to a number of individuals and groups of street artists from the cities like Bandung, Jakarta and Tangerang who did the art work at kampoong Babakan, subdistrict Binong, Tangerang.

Tangerang is a city in the Province of Banten, Indonesia located about 25 km west of Jakarta. It is the third largest urban center in the Jabotabek region after Jakarta and Bekasi.

From May to July 2013 on a periodic basis, group after group, those artists have been working on the walls of local houses. Kampoong Babakan is an urban village area in the last three decades inhabited by indigenous ethnic Sundanese and it has been "marginalized" by the establishment of “city clusters”.


Southeast Asian Population by geographic news


Jakarta and Jabotabek region by geographic news
They had been doing street art activity by showing empathy on the themes that are considered urgent needs related to basic education for  the residents of kampoong. They call this art project The Learning Wall. The main theme of the project comes from the idea of ​​the two groups originated from the arts community as initiators, Agenkultur in Tangerang and Jakarta Art Movement (JAM) in Jakarta.

Concept of The Learning Wall has been agreed through a process of intensive meetings on a regular basis between the two art communities since the beginning of the year. Subsequently held a discussion, sorting and selecting groups of artists. In addition, making a strategy on how to create a form of art with a plan to execute by considering the conditions in kampoong society via a series of surveys.


Artist: Garis Keras feat. Speak Lala and Rewind Art
Photo: Agen Kultur
This art project is the first step of a long-term program that is intended to achieve so-called "Kampoong Education". A dream about a future that their kampooong remain creative and confident even though it was "isolated" with boundary wall "physically and psychologically" because its location right in the middle of the construction of a new exclusive housing clusters.

Kampoong Babakan, Agenkultur and JAM


one house of resident kampoong Babakan



One house at housing clusters
The biggest problem of the cities in Asia, including Jakarta is an uncontrolled urban development and population explosion. It was developed into gigantic scale town and turn  into a city that is known as the megacity with more than 10 million people.

In the end, a giant city like Jakarta have established satellite towns, one of which is Tangerang. However, Tangerang area which is Kampoong Babakan located apparently had the same problem with the Jakarta with an uncontrolled development.

Writer such as Mike Davis on his phenomenal book entitled Planet of Slum one time stating "for the first time the urban population of the earth will outnumber the rural. Indeed, given the imprecisions of third world censuses, this Epochal transition may already have Occurred" .

A transition like Mike Davis said really happened. The real impact is experienced as Kampoong Babakan being pressed today. Those who inherit the land from generation to generation has been sold to developers of the new cluster. They have experienced "cultural  segregation" and "economic alienation", a process of exclusion that going step by step to break their original habitus at kampoong.

A new housing cluster development near kampoong Babakan
Photo: Agenkultur


A wall (on the left) that separates the new housing cluster with kampoong's houses (on the right)
Photo: Agenkultur
One resident of kampoong Babakan, H. Nadji (70 years old) ethnic Sundanese, in an interview told to writer that the development of clusters, especially new housing clusters have occurred since early 80s. Tangerang city growth then spread rapidly, making groups of its “economic clusters” into a large-scale that offers international facilities such as hospitals, hotel, real estate, universities, shopping centers and office.

Ironically all the great economic infrastructure can not be accessed by residents of surrounding small kampoongs. Besides Kampoong Babakan already “threatened” as in kampoong Kelapa Dua, Bencongan, Kerubung or Curug, some of the population has been moved to another place.  As we all know that a big economic clusters also lead to disparities; on the one hand, more and more people suffer from poverty, on the other hand, rich people are getting richer.

Nadji admitted with his family for three generations inhabiting kampoong Babakan--since before the independence of the Republic of Indonesia.

"Previously, we work on heritage land, farming with rice plants or cassava and we gradually switched our professions" Nadji said. He and other residents of kampoong now forced to adjust to be a factory worker or working in the new housing cluster. According to Nadji, approximately 25% of the population of kampoong still survive as farmers.

Meanwhile, to maintain viability, Nadji tried various new profession. "I am now working as a security guard in a housing complex called Karawaci" he said. According data from the information center in the chief office of subdistrict of Binong in 2012, an area of ​​461.28 hectares (461 Km) which includes kampoong Babakan, Cijengir, Galuga, Binong and Peusar has problems of poverty and unemployment.


Land inherited from generation to generation owned by kampoong residents have been sold to developers of housing cluster
Photo: Agenkultur
The main obstacle is the lack of education that makes them do not have access to skills and in the end can not be absorbed by labor market. Still according to the data, as a comparison, the lowest level of education in a number of 2,965 people aged 7-15 have dropped out of school compared to the amount of about 40 thousand over population. The number of dropouts was not counted those who had dropped out of high school.

By looking at those conditions, a non-profit community organization called Agenkultur has been established by responding to the urgent needs of kampoong Babakan related education issues.  They dedicate themselves to open non-formal education classes that focus on young people who drop out of school.

As said by the founder of the organization as well as local residents, FW Pei "Our organization, which is engaged in the social, education and culture established from 2003 has been educating via a specific curriculum of more than 1200 peoples dropping out of school at subdistricts Binong (mainly peoples comes from Kampoong Babakan) in various age level”.

He added, Agenkultur was developing non-formal education program into an educational center with a holistic method with the name "The School of Change". The school is also offering art education practices.

FW Pei further stated that he was creating a network between the arts community and intensive cooperation with any institution by practicing different methods such as running art project The Learning Wall in collaboration with art community Jakarta Art Movement (JAM) and invited a number of individuals and groups of street artists for the project participants.


A relaxed discussion between street artists and curator at Agenkultur
Photo: Agenkultur
At the same time, JAM with a joint art project with Agenkultur is the second project activity that is part of its long-term art project called Kampoong Art Attack in Jakarta and surrounding areas since the end of 2012.

After nearly a year participated in a community empowerment via art and social activism in conflict-prone areas at kampoong Johar Baru, Central Jakarta, JAM has opened creative classes such as contemporary dance and stencil art supported by the University of Indonesia, Department of Sociology.

The Learning Wall and Street Art Collaboration


Artist: GIMS
Photo: Agenkultur
Theme of The Learning Wall actually adopt the standard concept of teaching wall that is often used for teaching materials in primary level schools. We will find the walls of a resident of kampoong Babakan with the works of the street artists in the form of pictures or figures such as fruit and playful animals to facilitate primary school age children can count, read, and know basic English language lessons.

The works on the wall of kampoong residents also showed pictures of humans, for example, a particular world scientist with gestures and words that remind and connecting children with their environment. In addition, there are certain forms of street art works that it could be a game, make those kids could see then responding it with fun.


Artist: ROAR
Photo: Agenkultur
We were also greeted by the words on the wall that can be used as a motivation to get up in the morning with a picture of an animal or a solicitation to exercise that stimulates the children have the spirit of sportsmanship. National Children's Day, which is celebrated on July 23, 2013 in Indonesia seems a good moment with this art project.

Groups and individual street artists who have participated in the art project such as ISAD, Propagraphic Movement, RoboWobo, Garis Keras feat. Spik Lala, Rewind Art, Andi Rharharha, TSAF, JAH, ROAR, GIMS, Shucks Syndicate, Ardome and Sadrax Five Smile, Kampung Segart, Johar Baru Community School (SKJB), Agenkultur Art Activist (AAA) have different ways and methods on doing their works between one and the other. However, they have the same passion: art can help others.

Program coordinator of JAM, stencil artist and curator for the project The Learning Wall, Selo Riemulyadi consistently stated that he still kept making an open approach to socially engaged art practice via street art.

"For example, we are ready to coordinate groups of street artists in various cities that applied in problematic kampoongs as kampoong Babakan" said Selo. He added that street art as part of the artistic expression that is supported by a collaborative spirit has a more concrete role in society.


Artist: Chita-Chiko, GIMS
Photo: Agenkultur
The workings of the street artists as Selo and his friends are doing in collaboration with, often called the art critic with the type of art practices that characterized as community-based art, socially engaged art, participatory art or some call it as the art of social activism.

It can be described as an attempt to art practice in melting the limits of autonomous art which means spirit of self-reliance in individual aesthetic expression strongly held was removed gradually to embrace heteronomous art.

In other words, the kind of art practices that emphasize the nature and character of the form of communality that is connected with its social environment.


Artist: Andi Rharharha
Photo: Agenkultur
In the world of contemporary artists, as an example, we can reflect on the practice of participatory art as a collaborative work of Oda Projesi. A group of artists consisting of three women from Turkey: Ozge Acıkkol, Günes Savas and Secil Yersel.

On one of its art projects, Oda Projesi rented three rooms in an apartment in the district of Galata, Istanbul. They held a joint workshop with the kids around the neighborhood, inviting sculptors to picnics together and also organizing a children's carnival with a theater group.

Collaborative work is said by art critics as a kind of  participatory art that makes Oda Projesi  even invited to the important world art event like the Venice Biennale.

If we look from the perspective of  “street art activists”, soon we will find that they were already freed themselves to respond to any possibility of their artistic expression on any fields. No longer carry “the only one of liberation ideologies" that requires big narratives as a way to control its expression.

Several years ago, for example, a French street artist Jace did a simple but touching activities: take a trip to the islands of Madagascar and stayed there for several months with tribal people Anakao. He did experimental work with local traditional fishermen with their boats.

Jace refer to his project as a shared experience and move along to the local residents with collaborative practices in places in the area which he considers "untouchable art". This experience later written by Jace in a book.

Artist Robowobo in the fron of his work
Children in front of the work by Duo Coblon, Propagraphic Movement
Photo: Agenkultur

Considering  Jace’s experience, street art has opened up as wide as possible these days, with new possibilities. In fact, a medium to encourage the spirit of learning for primary school children as in Kampoong Babakan, Tangerang with the project The Learning Wall.

It was not really surprising, because the nature of communality in Indonesia's cultural roots are familiar dubbed in here as Gotong Royong or mutual help between peoples  naturally have been present long time even before the coming of “ the sacred world of modern art” with individualistic style.

We also have seen since one last decade individual artists and arts community or artist collective groups that are geographically responds to the phenomenon of urban culture in major cities such as Yogyakarta, Bandung and Jakarta do more intense work by considering their artistic collaborative with its social dimension.


Bambang Asrini Widjanarko

Chairman of  Jakarta Art Movement (JAM) for the art project Kampoong Art Attack 2012-2013.

sources:
Interview with resident of kampoong Babakan H.Nadji, subdistrict Binong Information Centre, Agenkultur,  Selo Riemulyadi, FW Pei, data of Street Art Network: Jakarta, Bandung and Tangerang. The book Planet of Slum by Mike Davis and data on the concept of participatory and collaborative art that is downloaded on the internet:  Jace, Oda Projesi, Geographic News etc


Monday 6 May 2013

Youth of Johar Baru and The Art of Movement





Pemuda Johar Baru dan Seni Gerak

10 Pemuda dari kampung Tanah Tinggi dan kampung Rawa di kecamatan Johar Baru, Jakarta Pusat awal Mei lalu, baru saja menuntaskan pentas seni gerak. 

Mereka berkolaborasi dengan fasilitatornya, penari dan koreografer Yola Yulfianti dan Rizki Arlin Putri di ajang Dance Film Addiction#2, 2013.

Kampung Tanah Tinggi, pusat latihan para pemuda tersebut untuk meyiapkan pentas, setiap hari Selasa, selama enam bulan berselang adalah kelas kreatif di sebuah balai RW setempat. Cilek (28) dan teman-temannya seperti Otong (30), Gagak (27), Rizky(23), atau Rizal (24) dll mengaku menikmati sesi-sesi latihan.

“Kita senang belajar seni, karena bisa mengungkapkan ide dan perasaan-perasaan kita” ujar Cilek pemuda putus sekolah yang harus membantu orang tuanya mencari nafkah dengan berjualan gado-gado. Ia didapuk teman-temannya menjadi ketua kelas di komunitas yang disebut Sapu-Lidi.  


Dua fasilitator sekolah Komunitas Pemuda Kampung Johar Baru, Putri (IKJ) dan Debby (UI) pose bersama dengan seluruh partisipan seusai pentas di  Dance Film Addiction#2, 1 Mei 2013
Foto: Umar Setyadi Q

Kampung tanah Tinggi, juga tiga kelurahan lain di kecamatan Johar Baru seperti Galur, Kampung Rawa dan Johar Baru sebenarnya sebuah wilayah rawan konflik horisontal, yakni tawuran antar warga. 

Akhir-akhir ini (sejak awal 2013), wilayah seluas 237,70 hektar dengan jumlah hampir 140.000 orang yang dianggap salah satu pemukiman dengan kepadatan yang tertinggi di Asia ini, mendapat beban baru lagi: rawan kebakaran. Sampai-sampai Gubernur Joko Wi mencetuskan program Kampung Deret sebagai langkah awal untuk pembenahan kawasan kumuh di Tanah Tinggi.  

Menurut Jerome Tadie, peneliti asal Perancis dengan bukunya Les territories de la violence a Jakarta, pemukiman di Tanah Tinggi adalah tempat “paling tepat” memahami budaya kekerasan di kota metropolis seperti Jakarta. Bahkan, mungkin jauh sebelum berdirinya Republik ini. 

Tadee menengarai karakter kekerasan para penghuninya di area slum—kumuh dan miskin, adalah warisan semenjak jaman Hindia Belanda yang dari generasi ke generasi mencipta para jawara. Tadee mensurvei tentang wilayah kekerasan di Jakarta dengan tiga kategori, membahas geografi kerawanan, wilayah penindasan-politik, serta premanisme.

Cilek dan kawan-kawannya dan pemuda seusia maupun dibawahnya harus menghadapi kondisi buruk tersebut, meski tawuran semenjak akhir 2012 frekuensinya mulai berkurang. 

Dulunya, perkelahian jalanan  terjadi saban hari. Asian Trend Monitoring dari NUS (National University of Singapore) tahun 2012 melansir penelitiannya bahwa semuanya bermula dari permasalahan urbanisasi yang tidak terkontrol yang mencipta pengangguran, masyarakat menjadi punya banyak waktu luang dan mengakibatkan frustasi. 

Pada saatnya, memicu kriminalitas, ditambah ruang yang padat merangsang sikap agresif untuk tindak kekerasan, menyulut ketakutan-kepanikan yang melumpuhkan kegiatan ekonomi. Ujung-ujungnya memperburuk kondisi masyarakat yang sudah miskin parah. Yang memprihatinkan juga, anak-anak mudanya mulai terimbas budaya kekerasan.

Bagan, hasil survei yang dilakukan oleh Asian Trends Monitoring dari NUS ( National University of Singapore) pada 2012 tentang wilayah kekerasan dan penyebabnya di Jakarta


Problem “penyakit masyarakat” di wilayah ini, sejak puluhan tahun silam  berulang kali mengusik para peneliti, seperti ahli geografi, ahli kriminalitas, pihak kepolisian dan pemerintah pusat untuk urun-rembug membantu menyelesaikan persoalan. Dari pendekatan gaya ‘intervensi’ infrastruktur fisik, bantuan langsung, atau gaya yang sekarang sedang ngetren dan seksi, yakni: community engagement-development.

Praktik pendekatan dan pemberdayaan masyarakat via komunitas yang dilakukan oleh organisasi non pemerintah dan pemerintah atau percampuran keduanya yang punya target pemberdayaan di lapisan paling bawah masyarakat. 

Mengutip sosiolog UI (Universitas Indonesia) Profesor Paulus Wirutomo, yang kebetulan tinggal di Tanah Tinggi, bahwa harus ada pendekatan khusus struktural dan budaya di masyarakat  dengan kegiatan yang terintegrasi. Manifestasinya adalah orientasi kegiatan edukatif secara informal dengan target mereka yang dianggap under class dan tereksklusi (terbuang/diasingkan). 
Masyarakat tanpa kelas, yang resisten terhadap pendekatan formil, seperti kepolisian dan para pemimpin lokal (RT/RW atau Lurah). 

Mereka sudah semestinya diberdayakan untuk mengekskalasi kehidupan ke tingkat lebih bagus dan mampu mengindentifikasi hidup lebih sehat. Sederhananya, memberi harapan lewat jalur pendidikan dengan fokus utama para pemuda yang rentan gaya hidup kekerasan. Dan ini bukan perkara yang mudah untuk dipraktikkan.

Memerlukan perjuangan yang panjang dan meletihkan, bahkan mungkin saja terantuk berbagai masalah kompleks, seperti: psikologi masyarakat yang terlanjur pesimistik, melihat pendidikan hanya menghabiskan waktu tanpa memberi kontribusi yang kongkrit,  struktur di dalam masyarakat yang tidak mendukung,  sikap politik dari pihak ke tiga yang mempertahankan ketidak-amanan kampung untuk keuntungan sesaat: penggalangan masa politik atau keuntungan ekonomi. Kemudian, ketahanan energi para relawan sekolah komunitas yang dituntut selalu memiliki kreatifitas tanpa henti untuk menjadi mitra mereka secara terus-menerus.


Sebuah kelas sesi seni gerak di sekolah komunitas Johar Baru pada Maret 2013
Foto: Yola Yulfianti



Harapan via Seni-Aktivisme Anyar dan Seni Gerak

Seni-aktivisme, sebuah konsep wacana dan praktik berkesenian yang kerap dihubungkan dengan radikalisme pemikiran dan tindakan, barangkali semenjak sepuluh tahun terakhir mulai berubah. Atau menemukan paradigma anyar, terutama dalam bentuk dan jenis serta strategi yang diterapkan di masyarakat.

Dulunya, seni aktivisme, terutama di tanah air, sarat dengan gagasan-gagasan politik besar pada masa rezim yang represif (Orde Baru), misalnya agenda-agenda: penolakan militerisme, pro-demokratisasi dan penentangan ideologi tertentu. 

Kemudian, di separoh penjuru jagad, kita sejak lama menemu jenis seni dan aktivisme yang  meski berkonteks politis-sosial lebih dekat dengan pemikiran di the pedagogy of the oppressednya milik Paulo Friere. Yakni, seni yang beroperasi sebagai produk budaya yang membebaskan manusia via pendidikan dan bukan sebagai bentuk radikalisme seni. 

Mampu menjadi alat bernegosiasi dan hak tawar non kekerasan dengan kelas-kelas yang menghegemoni produk seni yang dikatakan elit dan sangat eksklusif. Seni idealnya dimiliki oleh kelas-kelas yang dikatakan Friere “tertindas”.  Jenis seni yang di Indonesia jamak dikenal dengan seni penyadaran.

Jenis seni aktivisme yang paling mutakhir muncul, mengambil semangat Friere namun sama sekali tidak menghilangkan individualisme berkarya dan pencapaian estetika fisik yang maksimal dari para seniman. Yang mungkin Friere dengan "seni penyadarannya" luput menganalisisnya.  

Karena terkungkung pada subyek-obyek dalam penciptaan ( masyarakat yang “tertindaslah” yang menjadi subyek utama, tak lagi seniman) dan memang konsentrasi Friere pada hasil produk kebudayaan secara keseluruhan, bukan hanya seni saja.

Sebuah kelas sesi seni gerak di sekolah komunitas Johar Baru pada Desember 2012 di balai RW kampung Tanah Tinggi, Kecamatan Johar Baru, Jakarta Pusat
Foto: Budy Nogroho

Teknologi komunikasi dan media membantu dalam transformasi jenis seni-aktivisme baru,  dan metode produksi seni hari ini menampakkan wajah bentuknya yang majemuk. Diberbagai negara miskin yang bermasalah, seperti perang-saudara, perupa street art seperti JR dari Perancis menempelkan karya "paste-fotografinya" yang bagus penggarapannya di tembok-tembok kota. 

Sementara duo perupa dari Belanda Haas & Hahn di Proyek Favela Painting Brazil menggubah wilayah kumuh di Rio de Janeiro menjadi benar-benar cantik secara visual. Sementara, di tanah air HONF (House of Natural Fiber) dengan seni-aktivisme ala mereka, membuat tutor penyulingan air agar layak konsumsi di masyarakat sekitar sungai yang tercemar oleh erupsi gunung Merapi di Jogjakarta. Tapi, HONF mampu juga menampilkan instalasi fisik yang apik di museum internasional seperti di New Museum, New York, ajang Jakarta Biennale 2011 lalu atau di galeri-galeri.

Singkatnya, seni aktivisme "model-baru" menjadi berparas dua atau mungkin lebih. Di satu sisi ada pada konsep Frierian dan pada sisi lain ia menjadi semacam nukleus berkarya para seniman. Jenis seni-aktivisme anyar tak lagi mudah didefinisikan, yang telah berkelindan dengan konsep-konsep lain seperti environmentalisme, seni berkelanjutan, seni pengorganisasian komunitas, seni partisipatoris atau bahkan yang disebut seni yang mirip perilaku investigasi jurnalistik.

Pada Oktober 2012, Jakarta Art Movement (JAM) sebuah komunitas nirlaba yang terdiri dari individu-individu kreatif lintas disipliner dan komunitas-komunitas seni mengenalkan misinya bahwa seni selayaknya lebih dekat dengan kerja artistik di masyarakat kampung Jakarta.

Konsep seni yang seperti itulah yang diterapkan JAM lewat proyek seni yang dinamai Kampoong Art Attack, yakni seni yang menyerbu (dalam perspektif positif) ke kampung-kampung di Jakarta. Dalam kesempatan ini, JAM bersama komunitas seni-gerak dan tari kontemporer IDE mobile dance lab menyusun beberapa strategi dan ancangan untuk mengisi kelas-kelas kreatif di sekolah komunitas Johar Baru yang diinisiasi oleh departemen Sosiologi UI.


Sebuah kelas sesi seni gerak di sekolah komunitas Johar Baru pada Februari 2013 dengan memakai properti balon tiup
Foto: Selo Riemulyadi 

Kelompok-kelompok pemuda di kampung bertetangga di Tanah Tinggi, seperti komunitas Sapu Lidi dan komunitas Belakang di Kramat Jaya, atau komunitas Gang Buntu dll (usia 15-30 tahun) segera tertarik dengan kelas kreatif dan berkunjung di sekolah informal, tiap Senin, Selasa dan Jumat. 

Tak hanya seni tari kontemporer, JAM juga menawarkan kelas kreatif untuk seni stencil art, grafitti dan mural.  Organisasi lain, mengajarkan kreatifitas di bidang seni musik, untuk sesi kelas musik. Sedangkan pihak UI, menggulirkan kejar paket C, yakni sekolah informal untuk mereka yang putus sekolah setingkat SMU.

Tiap seminggu dua kali, selama enam bulan (sejak Oktober/ November 2012 - April 2013) JAM mengisi kelas-kelas yang  tak lagi mengutamakan prinsip-prinsip estetika yang di akademi seni diajarkan secara tegas dengan standar-standar jelas. Sementara, sekolah komunitas, menjadi sebuah laboratorium seni baru. 

Kemungkinan-kemungkinan tak terduga bahkan memperkaya proses bentuk-bentuk seni yang anyar.  Seni menjadi sebuah kerja, tepatnya sebuah kata kerja (verb), bukan lagi kata benda (noun), sebagai sebuah hasil. Seni menjadi hidup dan berjalan di masyarakat, beraktifitas di denyut hidup jantung warga kampung. Tidak berhenti menjadi obyek fisik (benda) saja atau artefak mati, kemudian dikagumi habis-habisan.

Sebuah proses bagi pengajar dan yang diajar tentu mengalami pasang-surut, terutama masalah emosional-psikologis maupun teknis tak terelakkan dalam sebuah masyarakat miskin yang terbebani banyak masalah. 

Yang dalam beberapa segi melumpuhkan kesempatan untuk proses ajar-mengajar, namun tidak untuk semangat dan sebuah harapan. Karena komitmen telah disepakati dan rasa percaya antar fasilitator/pengajar atau seniman dengan pemuda kampung Johar Baru yang sudah dan sedang diuji terus-menerus.

Kelas-kelas informal sekolah komunitas tetap ditegakkan, dengan target proses dialog terus-menerus, akhirnya dimunculkan rencana pementasan pada 1 Mei 2013 dengan menjadi penampil khusus bagi hajatan IDE dance mobile lab, yakni ajang kedua acara Dance Film Addiction#2.

Dengan demikian, pemuda kampung Johar Baru bisa menelaah kembali sikap hidup-positif mereka sendiri, terutama menghadapi realitas kampungnya yang pengap, padat, “terisolir” dengan segudang masalah. Ada sebuah transformasi, identitas anyar untuk bernegosisasi dengan lingkungan mereka nantinya—setelah pementasan. Bahwa, mereka mengenal seni sebagai alat ekspresi diri, dan terhargai sebagai manusia utuh.  


Pentas Pemuda Johar di gedung Tan Ek Tjoan, Cikini raya, Jakarta Pusat pada ajang IDE Dance Film Addiction #2
Foto: Muniroh/SH

Para pengajar, sebaliknya, menemukan berbagai vocabulary gerak baru di seni tari disana, dari pemuda-pemuda kampung. Sebuah kekayaan inspirasi, memprovokasi imajinasi estetis mereka secara individu dan menjadi lahan berkarya untuk memaksimalisasi capaian fisik dan gerak, berupa pentas. 

Fasilitator, memang seringkali, menemukan hal-hal yang mengagumkan: bagaimana para pemuda ini dengan tubuhnya secara refleks, seolah selalu mencium tanda bahaya, dan berani untuk bergerak lincah dan gesit?  Bagaimana pula mereka bisa dengan mudahnya berlari dan membentuk formasi kelompok dan gerak yang “rawan cedera”, seperti yang diarahkan oleh fasilitatornya dengan tanpa pretensi apapun?

Dalam penampilan, Yola dan Putri, fasilitator utama mereka, separuh menjadi koreografer, separuh menjadi kawan karib. Yola dan Putri bisa menjadi seniman yang handal sekaligus aktivis. 

Mereka berbagi rasa percaya diri, utamanya sikap seni yang bisa menjadi ajang reflektor dengan masalah riil yang dihadapi dalam kehidupan keseharian mereka di kampung Johar Baru. Akar kehidupan yang dipentaskan, yang mungkin semacam “altar pemurnian diri” bagi diri pemuda kampung tersebut.    
   
Konsep seni-aktivisme, pada akhirnya, secara politis sekaligus estetis  mampu bekerja dan menjadi bahan bakar mengeja kembali hakikat seni dan kontribusinya bagi budaya kontemporer yang kompleks, di Jakarta, terutama di wilayah rawan konflik seperti Johar Baru. 

Penampilan pemudanya dan fasilitatornya di IDE mobile dance lab, Yola, Putri, Rica dan lain-lain selama enam bulan berjalan, kembali menusuk kesadaran kita bahwa proyek seni ini belum tuntas, masih banyak tugas yang lebih keras ditempa, menjadi kawan sekaligus “kawah kreatiftas” bersama.

Bambang Asrini Widjanarko


Ketua Jakarta Art Movement (JAM) untuk proyek seni Kampoong Art Attack 2012-2013.

http://kampoongartattack.blogspot.com, http://www.facebook.com/jartmov

Artikel ini ditulis ulang dari siaran pers untuk penampilan khusus pemuda Johar Baru di ajang IDE dance film addiction#2 dari IDE mobile dance lab 2013





Youth of Johar Baru and The Art of Motion


In early May, 10 young people from Kampoong Tanah Tinggi and Kampoong Rawa at the subdistrict of Johar Baru, Central Jakarta has been successfully staged a contemporary dance or art of motion as a special performer. 

It was a collaborative work with their facilitator, choreographer and dancer Yola Yulfianti and Rizki Arlin Putri on Dance Film Addiction # 2, 2013.

Faces of youths of  Kampoong Johar Baru
Photo by Ario Hendrasto
The youth training center for six months on preparing the show was a modest space in a local community center at Kampoong Tanah Tinggi. Cilek (28) and his friends like Otong (30), Gagak  (27), Rizky (23) and their other friends said that they enjoyed the training sessions.

"We are pleased to learn the arts, because it was expressing our ideas and feelings" said Cilek who have dropped out of school and had to help his parents as a roadside seller. His friends ask Cilek to be leader of their community, Sapu-Lidi (coconut leaves brooms).

Kampoong Tanah Tinggi, also three other kampoongs at the subdistrict Johar Baru such as Kampoong Rawa, Kampoong Galur, Kampoong Johar Baru is actually a horizontal conflict-prone areas or street fights between people. In Indonesia often referred to as tawuran.

Land area of 237.70 hectares with a total of nearly 140,000 people which are considered one of the highest residential densities in Asia recently have gained a new problem: vulnerable to fire. Jakarta Governor, Joko Wi has plans to do a project called Kampung Deret program as a first step to revamping slum in Kampoong Tanah Tinggi.

According to Jerome Tadie, researchers from France on his book Les territories de la violence a Jakarta, Tanah Tinggi is a place that is "most appropriate" to understand the culture of violence in the city of Jakarta. In fact, it may be long before the Republic of Indonesia's independence.


Street brawls at kampoong's area
photo by Kompas
Tadie suspect that the character of violence of slum dwellers in this area is bad legacy of the era of Dutch occupation resulted generation to generation of leader of the gang. Tadie surveys about violence in Jakarta was in three categories: vulnerability geography, territory and political repression, and the thuggery.

Cilek and his friends and young people under their age have to face such bad condition a whole life.  The frequency of street brawls since the end of 2012 began to decline dramatically, but whoever does not guarantee that the street brawl will never happen again. Because it could be a latent danger that could erupt again at any time.

The fighting, formerly has been going on every day. Asian Trends Monitoring, a journal of NUS (National University of Singapore) in 2012 launched the research that everything is started from the problem of uncontrolled urbanization which created unemployment, people have plenty of time to spare and caused frustration.

At one point, due to the dense space, it stimulate an aggressive behavior of violence, fear fueled panic that paralyzed economic activity. In the end, it worsen the already poor conditions and the youth affected by the culture of violence.

The Chart on Journal of  Asian Trends Monitoring 2012 by NUS ( National University of Singapore)
The researchers in the field of social pathologies such as geography experts, experts in the field of criminology, sociologists and also central government repeatedly since tens of years ago were trying to find the most appropriate solution.

They used variety of approaches, ranging from the style of direct intervention in the form of financial aid, backing for physical infrastructure or community development based on citizens participatory program. 

A practical approach to society made by non-governmental organizations and the government body or a mixture of both that has a target of empowerment in the bottom layer of society.

According to sociologist and professor of the University of Indonesia (UI) Paulus Wirutomo, who lives at Kampoong Tanah Tinggi that there are should be a special structural and cultural approaches in an integrated activities.

Manifestations of its actions is informal education on targeting people who are considered under class and excluded. People who are considered to have no class on society of kampoong which is resistant to formal approaches, such as the police and local formal leaders.

In summary, it is an effort to provide a hope through education to the primary focus of the youth affected by violent lifestyle. And this is not an easy matter to put into practice. Because it will face complex issues, such as: psychology of kampoong residents are already pessimistic. According to them, education is  just spending time without giving a concrete contribution.

Structures in society that do not support and also the political attitudes of third parties who maintain insecurity at kampoongs for a quick profit: economic gain or collecting mass for the interest of political party.


A Hope trough New Art-Activism and Art of Motion

An art-activism is a concept of discourse and art practices that are often associated with the radicalism of thought and action that probably since the last ten years began to change. Or it find a new paradigm, especially in the form and type of strategies which is has been practiced in our society.

The concept of art-activism, in the past,  especially in Indonesia, was burdened with huge political ideas during the repressive regime (1970's-1990's of New Order), such as agendas: rejection of militarism, pro-democracy and opposition to a particular ideology.


Class of Contemporary Dance 1 by Yola Yulfianti and Rizki Arlin Putri
Photo by Selo Riemulyadi

All over the world, we long ago discovered the type of art-activism that includes context with the social and political discourse but closer to Paulo Friere’s pedagogy of the oppressed.

It is an art practice and discourse that operates as a cultural product that frees people via education and not as a form of artistic radicalism.

These type of art that can be a tool to negotiate with the bargaining power of non-violence for the rights of the lower classes with an upscale community that has done the hegemony of the art product that says elite and exclusive. 


Class of Contemporary Dance 2 by Rica Darmawan
Photo by Ario Hedrasto
Art ideally as said by Friere should be able to be produced also by the people who "oppressed". In Indonesia, we know its kind of art called the art of awareness (seni penyadaran).

The type of art-activism that most advanced finally appeared on the last two decades. It took the spirit of Friere’s concept but did not eliminate individualism in the work of art  and the achievement of maximum physical aesthetics of the artists which may, Friere with his pedagogy of the opressed forgot to analyze.

Friere shackled to the creation between the subject-object dualism. People who "oppressed" which is became the main subject, thus artists no longer have the power to create as “an independent entity”.

As we know, the concentration of Friere’s concept more on the results of culture as a whole product in society not just art.

The technologies of communications and cyber media have helped in the transformation of a new kind of art-activism, and methods of art production today revealed the face of a plural form. 

In troubled countries and experienced civil war, such as in the Middle East or Africa, street art artist like JR from France has pasted his "photography" with a nice artistic touch on the city walls. Meanwhile, the Dutch artist duo Haas & Hahn at the Favela Painting Project have compose slum area in Rio de Janeiro, Brazil became really gorgeous visually.

What about artists in Indonesia? A group of new media artists HONF (House of Natural Fiber) with their own style of art-activism have made a distilled water tutorial to the public on a polluted river by the eruption of Mount Merapi in Yogyakarta, Central of Java.  

At the same time, HONF featuring a nice art installations in international museums such as the New Museum, New York at the event of New Museum Triennale 2012 or such as Jakarta Biennale 2011 and on commercial galleries

In short, the new model of arts activism has become a double-faced or maybe more. On one side there is the spirit of the Frierian's concept and on the other it became a sort of nucleus artists work and it may be enriched with other types.

New kind of art-activism work is no longer easily defined, which has been intertwined with other concepts such as art-environmentalism, sustainable art, community based art, socially engaged art, participatory arts or even the so-called art-like behavior of investigative journalism.

Poster by IDE mobile dance lab on Dance film Adicction#2, 2013
In October 2012, Jakarta Art Movement (JAM) a non-profit community comprised of creative individuals and cross-disciplinary arts communities began to introduce its new mission that art should be close to the artistic work in kampoong society at the city of Jakarta.

On these occasion, the contemporary dance community IDE mobile dance lab together  with JAM formulate some strategies to fill the creative classes in an informal school called community schools of Johar Baru, initiated by University of Indonesia, Department of Sociology.

Youth groups in neighboring kampoong Tanah Tinggi, such as Sapu-Lidi community,  Belakang  community at Kramat Jaya street, or others community (aged 15-30 years) were immediately intrigued by the creative class and they started visiting informal schools on every Monday, Tuesday and Friday.

Not only contemporary dance and the art of motion, JAM also offers creative classes for stencil art, graffiti and murals. Another organization, teaches creativity in music, for music class sessions. While the UI, running Packet C, which is a class for senior high school drop-outs.

Twice each week for six months (since October / November 2012 - April 2013) JAM fill classes that no longer give priority to aesthetic principles that are taught in the art academy with clear standards. The new community of informal school of kampoong Johar Baru finally become a new art lab.

Unforeseen possibilities enriching even the art of motion and other art forms of contemporary dance that are new. A work of art is a verb, not a noun anymore, as a result. Art come alive and walk in society, not cease to be a physical object or a human body or only dead artifacts.

A process for the facilitator / artist and participant schools certainly have ups and downs, especially the emotional-psychological problems is unavoidable in a lot of poor people. It was in some ways a chance to cripple teaching-learning process, but not for the spirit and a hope. Because the commitments and confidence between the facilitator or artists with the youth of kampoong Johar Baru who have been and are being tested constantly.

Special Performer 1 by youth of Kampoong Johar on Dance Film Addiction#2, 2013
Photo by Umar Setyadi Q
Informal classes should be continued with a target of ongoing dialogue process, eventually raised plan of staging on May 1 with a special performer for IDE mobile dance lab program on  Dance Film Addiction # 2, 2013. 


Thus, the youth of Johar Baru could review the positive attitude of their own life, particularly their kampoongs to face the reality that is stuffy, crowded, "isolated" with a lot of problems. Hoping that there is a transformation for a new identity to negotiate with their environment later--after staging as self-expression.

The facilitator, on the contrary, found a variety of new vocabulary of dance movement from the youth of Kampoong. A wealth of imagination on provoking artists to maximize their physical performance and motion.


The Facilitators often find that amazing things are happen: how these young men with their reflexively body, as always smell the danger signs and dare to move swiftly and quickly? How well they can easily run and formed a group with the possible movements on injury prone without any pretension?

Special Performer 2 by youth of  Kampoong Johar on Dance Film Addiction#2, 2013
Photo by Umar Setyadi Q
In the preparation process of staging, Yola and Putri as the main facilitator, acted became a choreographer and close friend to these young people. Yola and Putri can be an artist and activist as well. 

The concept of art-activism, ultimately, politically as well as aesthetically pleasing and be able to work back to spell the fuel nature of art and its contribution to contemporary culture in Jakarta, especially in conflict-prone areas such as kampoong Johar Baru.

The youth and their facilitators on IDE mobile dance lab with Yola, Putri, Rica and others for six months running immediately reminds us that the art project of  Kampoong Art Attack by JAM unfinished. There is still time for continuing the creative classes and became friend  for youths of  kampoong Johar Baru.


Bambang Asrini Widjanarko

Chairman of Jakarta Art Movement (JAM) for the project of Kampoong Art Attack 2012-2013



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