Underground Jakarta
Surfing the Subculture

photo: Triski Nurani

Article by: Stirling Silliphant, January 2007

'The independent ethic was triggered by a new generation fed up by superficial values,' says Eka Annash, vocalist for rock band The Brandals.

It's no surprise that kids in Jakarta (population 14 million) would strive to live up to the Bahasa catchphrase gaya gue beda ('my style is different'). The existence of such a thriving subculture might surprise those who think of the city as the capital of the world's most populous Muslim country. But remember it's also the capital of Asia's second largest democracy, a city of sneaker freaks, graffiti art, burgeoning film schools, art-house DVDs (some licensed, but most not), DIY fashion and an explosive live band scene.

photo: Triski Nurani

These totems of indie culture thrive in a vastly contrasting landscape. Jakarta is thoroughly saturated with consumerism and its trappings, but its anarchic street life couldn't be further from the sterility of mall culture.

'The independent ethic was triggered by a new generation fed up by superficial values,' says Eka Annash, vocalist for rock band The Brandals. Eka sees Jakarta's indie scene as 'a mix-mash of individuals: various talents and hangers-on, from fashion stylist, to movie/music-clip director, to bubble-gum teenyboppers, to insidious poor-hygiene junkies, to supermodel wannabe and desperate artists.'

Orlow Seunke, JiFFest's director, points to Indonesia's emergence from three decades of militarist repression as the reason for the cultural free-for-all. When Suharto stepped down in 1998, Indonesia was making less than four films per year. Now it makes 31 each year. 'It's all these energetic young people that are starting the new cinema. It's buzzing in the film world now,' says Orlow, who plans to open a film school later this year.

When Hanindito 'Hanin' Sidhartawas started running the music annex of Aksara Bookstore in south Jakarta's Kemang district five years ago, he was surprised at how well non-mainstream music was selling. His colleagues encouraged him to check out BB's, a nightclub where dozens of local bands would play. Among them were The Brandals and The Upstairs, whose New Wave anthems (sung in Bahasa) and flamboyant dress have since netted them a massive nationwide following.

After hosting a series of in-store appearances from these bands, Hanin decided to start a record label, and released the 'Jakarta Sekarang' ('Jakarta Now') compilation. Occasionally sloppy, often dreamy, and always original, the album was built upon by successive releases by The Adams, Goodnight Electric, and White Shoes & The Couple Companies (bands also associated with the Ruang Rupa artist-run collective). The biggest boon for the fledgling label was having its bands score Janji Joni (2005), a quirky comedy that became one of Indonesia's biggest hits on the international film festival circuit.

photo: Triski Nurani

'Jakarta's scene is divided,' notes Eka. 'Communities [are] scattered all over, usually around a hangout (record shops, rehearsal/recording studios, restaurants or bars).' Throughout 2003, BB's was the place for gigs, but a renovation signalled the end of the venue's heyday and the scene transferred to Parc, with its Monday Mayhem club night and Thursday Riot live showcases. Parc closed for good in 2006, but The Riot continues as a roving party (venues change every month) and radio show.

Jakarta's independent culture thrives on the net, with sites such as Tembokbomber, which describes itself as a 'chill spot for Indonesian street artists, urban-artists, and street art lovers'. They're closely affiliated with What Not whose uncompromising mission statement is 'to throw ass-kickin' creative/cultural events and raise awareness/appreciation for fresh emerging talents in the local creative scene'. What Not hosted MediumRare (2005), Indonesia's first sneaker and urban art exhibition. They also brought the travelling sneaker and street art show, Sneaker Pimps (2006), to Jakarta, an event that 'went down as the most crowded exhibition in the Sneaker Pimps history'.

Jakarta is thoroughly saturated with consumerism and its trappings, but its anarchic street life couldn't be further from the sterility of mall culture.

Like independent/DIY movements elsewhere, Jakarta's indie scene grapples with the big issue of selling out. Aksara Bookstore's courting of corporate sponsors for its flagship Soundshine concert (headlined by Kings of Convenience, the 3000 tickets for last year's event sold out within days) and Citibank-sponsored Hard Rock Café gigs provide a case in point: 'we can't be more mainstream than that,' quips Hanin.

Jakarta's indie scene is now making such inroads into mainstream culture that some are bemoaning its evolution (or de-evolution) into the new pop. But for many who are part of this creative wave, it's about demonstrating to the world they have thoughts and opinions - with songs and outfits to match.