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Ever since you walked right in,

The circle’s been complete,

I love you more than ever,

And I haven’t begun yet…

Wedding Song – Bob Dylan

Music represents feelings. No wait, let me start again. Music is feelings; happy, sad, angry, grateful, calm, overjoyed, inspired, excited, free and easy. Sometimes you have that moment that words cannot express but you have a song for that feeling. Certain memories can suddenly come back and run through your head if you hear a certain song. That does explain why nowadays everyone is so picky when choosing their wedding singer for the big day.

Chaplin

Every one of us has our ‘love theme song’ in life and most likely you will want that song to be sung on your wedding day. It sets the mood and you can utter the words, “They’re playing our song!” leaving you both in happy tears.

Imagine having a wonderful party with your closest friends and family, with songs to remember. Your first walk hand-in-hand as a couple, have your first dance as husband and wife. Of course, you should have a perfect wedding singer to complete your wonderful day.Back in the 1850s, the tune Here Comes the Bride was the most popular song ever. It’s traditionally played when the bride enters to walk down the aisle. But far before that, Mozart composed the Serenata Ascanio for wedding festivities of Archduke Ferdinand, the Royal Prince of Hungary. Also Schubert made Kupelwieser Waltz as a wedding gift for Leopold Kupelwieser, the famous Austrian Painter.

Different cultures have different ceremony songs and dances to celebrate. Through the changes of time, tradition has also changed. More singers or bands singing love songs have created new wedding songs. Here Comes the Bride is rarely played.

Wedding singer culture has also grown fast in Indonesia. It all started as background music during dinnertime, but it is now one of the main entertainments of every wedding; a single keyboard player with a singer, a guitarist with a singer, to a full orchestra colouring wedding parties all over Indonesia.

Pop

For the pop genre, Elfa’s Singers is one of the most popular singers that perform in weddings in Indonesia. Agus Wisman, Yana Julio, Lita Zein and Ucie Nurul are formed by the late Elfa Secoria, a famous Indonesian music producer back in 1986. They perform a large number of wedding parties.

Motown

Inspired by motown kind of music, Laid This Nite brings R&B and soul to the stage. Being a regular performer in some bars in Jakarta, Laid This Nite is a great alternative for an uplifting, soulful wedding band. They don’t only perform at weddings in Jakarta, but also other cities including Bali. Taufan, one of Laid This Nite’s personnel explains that they don’t really have issues of songs requests, because the couples that book them already know what kind of music that they are playing.

“Lately, the most requested song to play is Happy from Pharrel, but sometimes we also get song requests from Michael Buble or Frank Sinatra. That is not a big deal. What challenges us is how to keep in mind that we are playing for a wedding, not our own event. We don’t want to steal the thunder of the happiest couple of the night,” Taufan added. With the average fee of USD $2,000 – $3,500, Laid This Nite, who were previously named Ladies Nite, can be your choice if you have a larger budget and want all your guests dancing to upbeat songs. These guys can turn up the heat sexy, sensual, and made-for-moving grooves.

Teza Sumendra

Soul & Jazz

Another singer that spends his time flying between Bali and Jakarta for weddings is Teza Sumendra. Not winning Indonesian Idol was actually an advantage for Teza. Performing on Ali Topan the Musical and working with big names like Indra Lesmana and Dhira Sugandi have brought him to where he is now. He’s not merely a wedding singer; he also has his own project as a solo artist. Teza performs regularly at bars like Poste and Umbra, and started on the wedding circuit when some of his close friends asked him to sing at their weddings.

“We hope his job as a wedding singer is not influencing his image that we are trying to develop,” stated Aria Baja, the Director of Lockermedia, Teza’s talent management. “With his kind of voice, Teza is still a strong image that is constantly growing,” Baja added. Teza’s voice ranges from the style of Babyface, Justin Timberlake to Brian McKnight. You can easily book him with the band for around USD $3,000 to $5,000.

Whatever style of music you choose for your wedding, whichever dancing style you prefer, you want to leave your guests wanting more, not less, as you want your wedding to be enjoyed and remembered by every guest in attendance.

TOP 10 SONGS MOST HEARD AT WEDDINGS:

1. All of Me – John Legend
2. Home – Michael Bublé
3. Lucky – Jason Mraz and Colbie Callait
4. All My Life – Kci and Jojo
5. I Finally Found Someone – Barbra Streisand & Bryan Adams
6. You Make Me Feel Brand New – Simply Red
7. From This Moment On – Shania Twain
8. Can’t Help Falling In Love – Elvis Presley
9. A Thousand Years – Christina Perry
10. Make You Feel My Love – Adele

OTHER RECOMMENDED WEDDING SINGERS & BANDS

1. Chaplin Band – Top 40 hits
2. Jamaica Café – Acapella
3. Bona Pascal – Jazz
4. Terrence and Friends – Oriental
5. HannyNCo – Pop, jazz, orchestra

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“If you have to ask what jazz is, you’ll never know.” ? Louis Armstrong

En route to the eleventh annual Java Jazz Festival, the macet was particularly cruel. Stuck on a fume-riddled planet ruled by strange machines called Kijang and Avanza, we could only whimper quietly, clutching our tickets to probably the most exciting musical event in Indonesia, wondering if we’ll actually miss the whole thing at this rate. Eventually, we walked the last mile to the Jakarta International Expo. Access and parking at the festival seems to worsen each year, and organisers desperately need to do something about it.

Nonetheless, Java Jazz purportedly attracts upwards of 120,000 visitors, 100 artists and 1,000 musicians from home and abroad annually. 2015’s headliners were about as far from jazz as you can get (certainly farther than previous years), in the shape of Jessie J, a big-lunged Londoner, and Christina Perri, a nondescript American singer-songwriter – both of whom are best described by that convenient catch-all, ‘pop’. Clearly this year, organisers were trying to appeal to a wider, younger audience.

Avoiding these, I made a beeline for the number-one act on my list, a soul sensation relatively new to the jazz scene: Jarrod Lawson.

Lawson was a few minutes into his set, but we hadn’t missed the best tracks and nabbed a spot right in front. Immediately it was clear the monitors were giving him trouble; and when I spoke to Lawson after the show it transpired he couldn’t hear his piano the entire time – but that didn’t stop him putting on a consummate performance.

Lawson’s brand of soulful jazz is at once ‘now’ and timeless. His wide-ranging influences are easily identifiable, but through funked-up beats and spiritual lyrics, he makes it his own. His vocals have the nuance, depth and curve of (one of) his hero’s, Stevie Wonder, and live, this was spine-tingling to witness. My favourites were a sneak preview of a track called ‘Soul Symphony’ from his upcoming new album, and the lead track from 2014’s debut, Jarrod Lawson, ‘Music and Its Magical Way’.

Incognito in full swing

I asked Lawson about his experience of the festival and Indonesia in general. The answer was full of the same thoughtful, humanitarian goodwill as his lyrics: “It’s hard for me to separate being in this bubble [the festival] with the poverty you see outside on the streets.” Talking about the crowd, he seemed unfazed by the habit (which really bothers me) of audiences here to sit down, even right on the floor, when there’s an electrifying live performance going on. Instead he was pleased with the turnout and expressed gratitude at being a part of Java Jazz. I’ll bet he’s back with an even bigger following in future.

Other international acts included Chris Botti, a smooth jazz saxophonist; Bobbi McFerrin, a veteran of the festival; and irrepressible Brooklyn collective, Snarky Puppy. Local talents outnumbered foreign and highlights such as the renowned Naturally 7, and Idang Rasjidi (who scats in Indonesian, to a George Benson vibe) lit the stage up for many. Festivalgoer Dewi Hermanto told me “we come every year, it’s a source of national pride.”

Onwards to Saturday’s headliner, Chaka Khan featuring Incognito. The festival’s mad crushes masquerading as queues are another issue organisers need to address. Teenage ‘security’ staff had zero control over the crowds, and a glass door was shaking from the accumulating pressure. Once inside it was still mayhem – surely caused by a very strange decision to have rows of seating rather than standing space. Not so for headliner Jamie Cullum last year in the same room, and although he suffered a few patches of kumbaya groups sitting on the floor, at least his fans could get close to the stage and create some atmosphere. In contrast, it was three-quarters of the way through this show before security lifted a barrier, allowing fans to get up and dance rather than sitting like bored schoolchildren on their phones, filming the performance instead of living it.

Jarrod Lawson

But – Chaka’s still got it. At 61, she looks stunning, hitting those high wails like it was 1984. Opening on a cracker, ‘I Feel For You’ was terrific and she kept the pace with ‘Ain’t Nobody’. ‘Tell Me Something Good’ gave Khan the chance to play with the crowd, getting guys and girls to sing the famous refrain to each other. It was then I noticed just how many people were singing along word-for-word, creating a feel-good, harmonious atmosphere of like-minded fans.

Khan took a break, allowing Incognito to treat us to some serious acid jazz. Bandleader Bluey regaled us with childhood stories of dreaming up his ultimate group: Stevie on keys, George Benson on rhythm guitar, himself (naturally) on lead, and the legendary Chaka Khan singing – a dream that had come true tonight, and a heartfelt message for aspiring musicians in the audience. The band was on fire – they ripped into a fan’s fantasy set-list: ‘Good Love’, ‘Everyday’, and the touching ‘Still a Friend of Mine.’ The star of the show was purple-haired singer Katie Leone, whose vocal prowess was phenomenal – a real force to be reckoned with.

Finally, Khan came back to generously give fans the big hits they craved, including ‘Through the Fire’ and ‘What Cha’ Gonna Do For Me’. Khan had a message for us before launching into her final song, ‘I’m Every Woman’: “This is not just a song for women. If you’re a dude and you wanna get down to this, you go ahead.” And many a dude did.

Bring on next year. If anyone has a spare helicopter I can use for transport though, let me know.

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What better way to spend a stunning, sunlit Sunday than with beautiful people, dangerously delicious cocktails and an EDM God in a venue of immense beauty that is Potato Head Beach Club.

Sunday was a scorcher! Tourists and Expats from all over the world flocked to be a part of what some may favour the highlight of Bali’s 2012 Music Calendar starring none other than Norman Cook aka Fatboy Slim.

The event kicked-off with hotshot DJs, Stevie G (USA) & Lady Flic (NZ), who delivered a mix of House, Reggae, Soul and Chill classics to a rapidly expanding gathering of young and old boasting six-packs and bikini-clad beach-bods; eye-candy heaven to say the least. Whilst Bintangs and inflatable crocodiles governed the pool area, a more relaxed crowd basked in the sun enjoying cocktails on the lawn. Ye lads and lasses flirting, friends chatting and old friends catching up; all round, great vibes with a cheerful Summer Music Festival ambience swept POTATO HEAD BEACH CLUB on a glorious scorcher of a day, which in spite of the recent weather back home, I took great pleasure in announcing via Facebook (cheeky smile). Back to the music – tunes from old to new, from Classic 60’s Soul to 00’s Big-Room House got Bali’s finest and visitors up on their feet from late afternoon to sunset thanks to POTATO HEAD’s Expat Resident DJs.

With a picturesque backdrop of the Sun setting, the venue packed and the crowd wild with excitement in ever-escalating anticipation – silence struck – and after a world class introduction from the MC the venue erupted to Praise You, a Fatboy Slim fan favourite and what I like to call “one of those religious music experiences” – goose-bumps, hairs on end, shivers down your spine, smiling faces, peace, love and unity.

During the course of the evening an eclectic mix of the unique Fatboy Slim sound ‘Party Acid House’ rocked the BEACH CLUB from Oldskool Electronic Classics to Hip-Hop Anthems to Rock n Roll Legends. Satisfaction and Rock The Casbah, legendary Rock n Roll classics mixed with Mr Slim’s own tracks and a locally inspired remix which definitely got the fans pumped: “I’m In Bali, B****” teased and hyped the fans. Amongst them were other memorable Mash-Ups and Classics including Not Over Yet and California Love.

As you all may well know the “Funk Soul Brother” has always had a knack for uniting crowds through music and props and is no stranger to summer beach parties ie his Big Beach Boutique; giant Smiley Skull and Cross Bone beach balls (a Fatboy Slim Trademark) were tossed into the sea of ravers. Bob Marley’s Could You Be Loved, House Of Pain’s’ Jump Around and a version of John Paul Young’s Love Is In The Air, created an immense sense of love and unity among revellers, which great music and people often do.

Disgruntled party-goers complained about the queue for the toilets when in fact the toilets were not fully occupied, although some attendees did not comply with queuing or security POTATO HEAD BEACH CLUB did well to control the facilities for such a large-scale event. When asked regarding the toilet situation, Steve Cromie, Operations Manager shared, “Regarding the toilets, we were limiting the amount of people going downstairs for two reasons; so as to not create a bottle-neck in the area as it is quite enclosed and also to ensure that cleaning was taking place in-between customers.”  Fair-play to Steve and his team.

Fellow ravers were also miffed about ticket and drink prices. I asked Emilie, 30, a Lawyer from Paris on her viewpoint. “It is such a beautiful place (Potato Head), it is a little expensive but to see Fatboy Slim in Bali, it is worth it.” Holly, 33, a Dive Instructor from West London praised, post-gig, “Awesome, the best event in Bali so far, great drinks, great people, awesome music!” From the roars of the crowd and smiling faces I imagine everyone got their money’s worth.

This was my first ever Fatboy Slim gig and it lived up to my expectations; fantastic music, an electric atmosphere, crowd unity and a togetherness which we should see more of in the Bali party scene. Merit is due to POTATO HEAD for their friendly and attentive bar staff, security and organizers who made it a pleasurable party experience.

This was without a shadow of a doubt up there with the greatest music events I have ever been to, if not THE best. Musical experiences and journeys such as on Sunday 15th are few and far between and for a music-lover such as myself, bliss!

I think and hope I speak on behalf of all the attendees when I ask POTATO HEAD BEACH CLUB; “WHEN IS NORMAN COMING BACK!?”

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The prominent role of gay expatriate artists in Bali before the Second World War must have deeply disturbed some members of the very conservative white colonial society. Luckily for Walter Spies and Rudolf Bonnet, the two most famous homosexuals of the time, Bali was still a very isolated location that had not attracted a great deal of attention during the late 1920s when they settle there. They also took the added precaution of settling in Ubud a village just faraway enough from the government capital in Denpasar. Official guests of the royal family they felt safe and secure.

When compared to Europe, the Dutch East Indies was something of a haven for gay men because of an unofficial policy of “don’t ask and don’t tell”. The policy was not the result of enlightened thinking but a practical measure.  Enlisting qualified candidates for the expanding economy and bureaucracy had long been a major problem. Tropical Indonesia had a dreadful reputation for disease and danger that only the desperate, hopelessly idealistic or super ambitious wished to experience.

The 18th century many newcomers were shanghaied or kidnapped. A century later large cash payments in gold florins were used to entrap people like the penniless and desperate French poet Arthur Rimbaud to enlist in the notorious colonial army. In Holland convicted criminals were often given the choice of serving in the colony or a long jail sentence. The appallingly low standards made it easy to ignore sexual bias especially if you were educated and competent. Like the Catholic Church, the authorities were also astute enough to post the more flamboyant types to the most isolated positions as a precaution. Only entanglements with the politically or economically influential were discouraged.

Gay Men were attracted not only by comparatively liberty but also the allure of exotic native lovers. Local attitudes towards sexuality were ambivalent throughout Indonesia and although it would be wrong to say that gays had equal status they were usually tolerated and in some places like the bisu priests of the Bugis, often achieved status. The blur between the sexes is also seen in images of male heroes of courtly dances where refined male types are often exceedingly feminine and women once played by men. In societies where young men and girls were strictly separated, homosexual encounters between young men was not unusual and rarely censored. The Dutch East Indies was not an unattractive option for gay men in search of freedom to live without fear.

For Walter Spies, this freedom came to an abrupt end in 1939 when he was arrested by the colonial equivalent of the vice squad for corrupting the morals of a minor. For the most part this event has been described as a witch-hunt by an evil colonial regime. The actual story if far more complex and raises many difficult questions that cannot be glossed over.

Perhaps the most startling piece of news is that Walter had been warned many months before his arrest that he was under investigation. One must ask if his choice to ignore their advice to tone down his flamboyant behaviour was a result of an inability to control his natural tendencies or a self-deluding belief that he was so well connected to be untouchable.

He ignored other wake up calls as well. These included the moral outrage of Mary Pos, a famous Dutch travel writer, who after a visit to Bali in 1937 described Spies habit of driving around the island with a bevy of boys as “A degrading mockery of decent behaviour, wilfully bringing about…degeneration…”  He had also unwittingly made an enemy of the Danish wife of L. S. W. van der Noordaa, a respected elder Dutch sculptor, who lived in the royal palace in Ubud.  A born again Christian and rabid homophobe she became close confident of the American born again Christian wife of the all powerful governor-general Tjarka van Starkenborgh Stachouwer who actually meet Spies and Bonnet at the Bali Museum in 1935. Stimulated by exaggerated reports of declining morality and the need to protect the natives against white sexual predators, he was responsible for a pan-Indonesian investigation that resulted with hundreds of arrests of gay men in 1938 and 1939.

The arrest of Spies resulted in an immediate swelling of support from around the world spearheaded by Margaret Mead and Jane Belo, the wife of Canadian composer Colin McPhee who had come out of the closet during his prolonged stay in Bali and was also under investigation. Mead and Belo aided by Walter’s many friends designed a defence that seems odd by today’s standards.

Gregory Bateson, Mead’s husband, expounded that his study of the Balinese character had proven that the idea of time, as we understood it in the west, was unknown to the Balinese. In effect this meant that any testimony they gave was unreliable. The absence of any sense of time also meant it was impossible to establish the age Spies’ alleged under-aged lover.  Another peculiar argument was that Balinese men matured at an earlier age thus western standards for defining a minor were not applicable. The defence even got the boy’s father to testify that the family liked Spies and that from their perspective there wasn’t any problem.

In spite of the reading of a treatise written by Mead in Walter’s defence declaring him a rare artistic type who had found his kindred spirits in Bali who should be an exception to the rule, Spies was convicted and sentenced. Luckily some of his circle had enough sense and influence to understand that he was not going to get off and instead made sure that his sentence was short and above all that he would not be deported. After 8 months in prison he was released in December 1939 not much worse for the wear.

Like many legendary heroes it is difficult to discuss Spies outside a mytho-poetic context. His first biographer, Hans Rhodius, idealized him as an extraordinary artist, musician and Renaissance man. Rhodius told me in 1979 that he had travelled to Bali in 1938 as a young man but failed to meet him. He did, however, visit his house. Spies subsequently became a role model that ended up with Rhodius coming out of the closet late in his life. Ironically his massive book on Spies, written in German, makes no overt reference to him being gay. This was the result of a direct agreement with Spies’ family who only allowed him access to his prolific correspondence if he agreed to expurgate any reference to his sexuality. Today Spies has also graduated to gay icon and liberator. Still as many including Australian scholar Adrian Vickers has pointed out, it is wrong to ignore the moral dilemma. A comparable situation concerning the sexual activities of the gay Australian artist Donald Friend with underage men in Bali exposed in a recent TV has also provoked controversy. The art of both men stands and once again we learn that life and love is complex and oftentimes dark and frightening. When it comes to sexuality the human mind is full of shadows and secrets. What is forbidden or permissible often changes with time. The greatness of Spies is undeniable. It is also doubtful that he ever committed any act with malice. Let us accept him as a remarkable but imperfect man.

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With the islandwide celebration of Dewi Saraswati on August 10th, it’s only appropriate to offer a paean to Bali’s bountiful World of Books. The wife of the god Brahma, Saraswati is the Indian goddess of wisdom, the guardian spirit of the creative arts, learning and knowledge. The graceful Balinese gooseswan, the nearest thing on the island to a true swan — the symbol of the muse — is her sacred mount.

Hari Raya Saraswati is a day of thanks to this beloved goddess for bringing education to the world. Out of respect, it is not permissible to read or write from Friday evening until special rites are carried out on sacred manuscripts. On this day all books are taken out and dusted, then presented as an offering. Special attention is paid to Bali’s oldest “books,” sacred lontar palm leaf manuscripts, which have been taken out from valuable collections, cleansed and blessed by priests and put on exhibit in the Puja Saraswati ritual.

At Gedong Kirtya (Jl. Veteran 20, Singaraja, tel. 036222645) visitors may view these holy books and even take photos. A staff of 24 take care of the 4,000 odd lontar books in this library which record the literature, mythology, horoscopes, black and white magic, folklore, rituals, medical science, calendars, genealogies and histories of Bali and Lombok. The most precious, dating from the 18th century, are kept in a special airconditioned room. Every September 14th there’s a big anniversary celebration. Hours: 7.30 am3.45 pm, closes at 1 pm on Friday, closed Saturday and Sunday.

Bookstores of Bali

Bali’s best stocked bookstore is the massive Gramedia on the second floor of Mal Bali Galleria (Jl. Raya Bypass Ngurah Rai, tel. 0361758072) which sells thousands of titles in Indonesian, imported books and magazines, novels and bestsellers.

Periplus, with 15 bookstores all over Bali, sells a very wide range of books, a large number of which they publish themselves. Periplus is often the sole distributor of new book titles in Indonesia. This shop carries a range of English titles of local interest, literature, art, interior decoration, spirituality, cooking, plus novels, interactive children’s books, general nonfiction, maps and the latest international magazine. Browsing isn’t encouraged as there are no chairs and most books are wrapped in plastic.

Ganesha Bookshop, on the corner of Jl. Raya Ubud and Jl. Jembawan (opposite the post office) in Ubud, has been selling new books since 1990. They have a huge stock of books in English on Indonesian literature, language, cooking, culture, arts and history and books for children. Website http://www.ganeshabooksbali.com for ordering from a comprehensive online catalog. Hours: 9 am – 8 pm daily. Tel. 0361970320. Another Ganesha Bookshop inside Biku Restaurant at Jl. Petitenget 888 is open 8 am – 11pm every day. The Ganesha Bookshop in Sanur (Jl. Danau Tamblingan 42) has a special area set aside as a reading room for young readers to help foster reading for pleasure in the local community.

Specialty Bookshops & Secondhand Books

Respectable collections of art books (of Balinese, Indonesian and expat artists), art catalogues and scholarly publications are sold at Agung Rai Museum of Art (ARMA), Jl. Raya Pengosekan, and at Neka Art Museum Bookshop, Jl. Raya Sanggingan. Threads of Life, Jl. Kajeng 24 (near the Ubud Palace), tel. 0361972187, stocks books on textiles, weaving and art. Hours: 10 am – 7 pm.

Enchanted Books, Jl. Raya Kerobokan 69 (tel. 0361734822) stocks a great selection of fiction, nonfiction, and bilingual Indonesian/English books for children from infant to 12 years old. Hours: 10 am – 6 pm daily. The reception area of The Yoga Barn (tel. 0361971236), a 10 minute walk south from KAFE down in Pengosekan, shelves the most extensive collection of yoga books on Bali, a whopping 75 titles, most imported from India. Hours: 7 am – 8pm.

Because of the literally millions of travellers and tourists passing through Bali, leaving vast quantities of used books in their wake, there is no shortage of used books available for trade or purchase. These books end up in hotels and eventually in permanent and semipermanent secondhand bookstores all over the island. You can usually return the books you buy to the same vendor and get back half of what you paid. But in spite of the deluge of books, don’t expect to buy them for next to nothing. Used books cost Rp.30,000 to Rp.50,000, and for new bestsellers as much as Rp.100,000. Nevertheless, you can often find books for free. In the lobbies or restaurant areas of small hotels guesthouses and homestays, travellers leave behind their books for others or for the hotel to make available for trading.

You are also sure to stumble across small makeshift stalls selling reasonably priced books of decent quality. In some cases, a seller’s stock is carried on the back of his motorbike. Look for bookstalls and portable vendors selling novels and travel books along Jl. 66 in Seminyak in front of the Lanai and Zanzibar restaurants, down Poppies Lane and on Jl. Raya on the way to the beach in Petitengat. Another popular little secondhand bookshop is just outside the back entrance to Bintang supermarket.

In each Ganesha Bookshop in Ubud, Petitinget and Sanur are glassed cabinets containing unusual, rare and outofprint titles on Indonesian history, politics, art, literature, and travel narratives. Used books sold in all 3 stores are returnable for a 50% buy back. Anita and Ketut may be contacted by email: info@ganeshabooksbali.com, by tel. 0361970320 or on Facebook (Ganesha Bookshop).

Anyone who loves secondhand books — from romance and bodicerippers to serious academic titles and quality trade paperbacks — will gravitate to Susan’s Book Swap at Dijon, Jl. Kuta Poleng Mall, tel. 0361759636, email: dijonfs@indosat. net.id, near the big Simpang Siur roundabout. This popular event takes place on the last Saturday of each month (subject to change) between 1 pm and 4 pm. You can take away as many books as you came with, except for children’s books that can only be traded on a oneforone basis.

Book Clubs & Libraries

It’s no coincidence that the Ubud Writer’s & Readers Festival, which draws book lovers from all over the world, sprang to life in Ubud — a village bibliophiles. Attracting a more cultureoriented longterm resident and traveller, Ubud is awash with bookstores selling new and used books. It is the location of the island’s best independent bookshop, Ganesha, as well as excellent secondhand bookstores. Surprising finds can also be made in nontraditional bookselling venues such as Ubud Music, Jl. Raya Ubud and the Balispirit Shop. Even the Ubud Post Office sells books!

The Ubud Writers Group meets on the 2nd and 4th Thursday of each month from 10 am to midday at Bayu’s Kitchen in Penestanan. Attendance at meetings varies from five to 10 people. The group’s members have published three collections of stories and poems about life in Bali. For more information about UWG, email Steve Castley at stevecastley124@gmail.com.

The Ubud Children’s Library: This private nonprofit library in the Pondok Pekak compound shelves an extensive collection of children’s picture and activity books, approximately 4000 in English and 2000 in Indonesian. A full time bilingual children’s librarian provides English language lessons free of charge to local Balinese children, art activities on the weekends and storytelling during the week. The fee to borrow three books every two weeks is Rp.50,000 per annum plus a Rp.150,000 refundable deposit. Book group and school memberships are also available upon request. Hours: 10 am – 5pm Tuesday to Friday; 10 am – 6 pm Saturday and Sunday. For further information: tel. 0361976194, email: ubudchildrenlibrary@yahoo.co.id.

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Meet Judy Chapman. The Author of “My Singapore Lover”, a contemporary love story in which Singapore is the main character.

Was “My Singapore Lover” inspired by personal experience?
This is definitely a work of fiction, however I have personally experienced aspects in the story, including the martial arts journey, living in hotel suites, and Singapore of course. I wrote the first draft in three weeks around seven years ago when I was living in Singapore. It is a contemporary love story set in Singapore, the story is told mostly from a hotel suite over a twenty-four hour period and I have definitely had my fair share of hotel suites – in Singapore I was the Editor in Chief for Spa Asia magazine and travelled the world reporting on spa openings. It was an enriching time.

Who are your literary influences?
I am passionate about Haruki Murakami, a beautiful contemporary Japanese writer and Paulo Coelho’s Eleven Minutes is one of my favourites. Right now I am reading a novel titled Beautiful Ruins by Jess Walters – it’s stunning. I’m more into film, though and my biggest dream is for one of my novels to be made into an edgy film. Well, one can only dream!

Is this your first publication?
This is my first novel, but my fifth book. My first four books were non-fiction that was a completely different journey. I knew from the age of eight years old that I wanted to write a novel, but like all of us, have been on many detours. It took quite a bit of focus and determination to make this novel happen.

What is your background?Where did you grow up?
I grew up in Byron Bay, Australia, a similar melting pot to Bali in terms of being a small community of many cultures, beliefs, religions, creative types, raw foodies, yogis – and both places offer a more relaxed and free lifestyle. My upbringing was typically alternative and consisted of trips to Bali and ashrams in India. Well, I tried my hardest to be ‘straight’ and wear a suit and carry a briefcase, but never succeeded in that. I did attend University in Melbourne for a while, but ended up working for The Melbourne Herald on the fashion pages, as I was impatient to get into the workforce. I started my own spa brand with my ex-fiancé when I was 23 years old and we opened spa stores around Australia – a very inspiring chapter of my life. After I published my first book, everything took off and this is when I moved to Southeast Asia and started writing about spas.

What brought you to Bali?
I first came to Bali back in the late seventies when there was only one western hotel. Over the last decade I have written and photographed two of my spa books in Bali and in 2012 completed my yoga teaching training course – so Bali has been a big part of my creative life. Last year you could find me tapping away at my novel from various organic cafés around Ubud, the perfect setting for any writer. I never expected to live here, but Bali has been my home base since I came here on assignment for a magazine to do a piece on Karma Resorts, and they kidnapped me to set up their spa brand, which is what I have been doing for the last five years in Bali – but I didn’t actually decide to live here and can be a reluctant expat in some ways. However, my day job involves lots of travel throughout Southeast Asia, setting up spas and creating bespoke treatment and retail concepts.

What is a Spa Curator?
That’s what I call myself because I didn’t want to be a Director or a Consultant – it’s not me at all. I resonate with Curator, as it feels more creative. I have been working in the wellness industry for twenty years now – writing about spas, creating natural products and working with architects and interior designers to dream up beautiful spa concepts. More recently I have learned about the business side of spas – so in many ways I now feel like I have a more holistic understanding of the spa business. It hasn’t been easy for a right-brain thinker, like myself, to learn about the financials, but it’s been a very rewarding journey. I now have great respect for both the business and the creative and understand the two cannot exist without each other. Overall I have created around twenty spas around the world including Australia, Europe, India, Thailand and right now I am developing spas in the Middle East that is a fascinating experience (a new backdrop for another novel perhaps?).

What are your other passions?
I am addicted to Pilates! It’s my sanctuary. I also love martial arts that I feature strongly in My Singapore Lover (the protagonist goes on a journey of learning martial arts that helps her grow). I am into healthy living, love travelling and contemporary art galleries, but my biggest passion is film. I love Asian directors, Deepa Mehtaand, Wong Kar-wai, as well as Sofia Coppola’s work.

Do you have another book planned?
My Singapore Lover is my first novel and a humble beginning (I hope reviewers are kind to me). Whatever happens from here, I feel so blessed to have come this far and get a publishing deal. My next novel (which I actually wrote first), is set in the Himalayas and is more of an epic mystical-adventure-romance with subtle spiritual tones. There’s a little bit of martial arts in this second novel, as well as this modality has personally been an important part of my own growth.

Will you be at the upcoming Readers and Writers Festival?
Yes! Drop by Three Monkeys Café in Ubud on Sunday 13th October at 4pm and all will be revealed – a free event with drinks and refreshments provided.

Thanks Judy!I look forward to seeing you at the Readers and Writers Festival!

‘My Singapore Lover’ is available at Periplus Bookstores and will be available online at Amazon and iBooks.

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Gamelan

As Pak Parno threads his way through the gamelan, he claps his hands to guide the tempo and calls out to beginners who have lost their place in the music. Eyes focus on notes as mallets tap out a lancaran or simple song. The cyclical melody is carried by the metallophones, embellished by the ringing tones of bronze, knobbed kettles. This is punctuated by hanging gongs and led by the beating of the kendhang drum. Repetitive lines pulse on counts of two and four. These crescendo and accelerate before winding down to pause for the strike of the massive gong gede, followed by the musicians’ final note. It is mesmerizing music.

The players awaken from their reverie to see three newcomers have arrived. They are welcomed, and members call out, “Come on, it’s easy – everyone can play.”  The guests are handed music and encouraged to sit on cushions in front of the saron, an easy instrument. After some quick instruction, the newbies play along, and smiles of accomplishment bloom on each face. This is the joy of gamelan.

Pak Parno has taught this gamelan group in South Jakarta for eight years, but he prefers another term. “I don’t teach,” he says, “I help people to learn. I am happy and love the arts.” The wizened instructor began studying gamelan, or Indonesian orchestra, more than four decades ago, and he plays professionally throughout the country. The group boasts both accomplished and novice players, who enjoy Pak Parno’s gentle direction.

After two years, expat Cheryl Parker has gained the confidence and competence to play the bonang, two rows of bronze kettle gongs. These horizontal gongs can introduce a beginner’s song and elaborate with a countermelody. “I joined this group to do something cultural,” she says. “You can pick it up quite easily. Gamelan is a calming break, rather hypnotic.”

Andrew and Ashley Goldman from England agree. “It’s a stress relief to concentrate on one thing. And you must concentrate, or you’ll get lost,” Ashley says with a laugh.

Gender

Gamelan is the indigenous instrumental ensemble of Indonesia, with variations from the islands of Bali and Java. The music is a hallmark part of puppet performances, traditional dance ceremonies, rituals and orchestral productions.

The gamelan consists of various gongs, which are suspended or flat, plus tuned, metal instruments struck with padded mallets, called tabu. Gamelan instruments generally fall into three types: balungan or melody, elaborating and punctuating. Balungan instruments create a song’s skeleton through various xylophones or saron tuned in octaves. These are easy for beginners to play. The percussive punctuating instruments are gongs, either suspended from a frame or enormous, horizontal kettles. They are struck at rigidly defined places in the melody, and the largest gong marks the end of each rhythmic line as well as the song’s completion. The elaborating instruments include two sizes of bonang, plus a zither, violin and bamboo flute. There can also be a singer. These elements independently weave texture over the melody within established guidelines. Lastly, the kendhang drums pace the song.

Each gamelan is a unique entity, with instruments tuned to one another as opposed to a standard. There are two tunings or lara, comparable to Western music’s major and minor keys. These are pelog and slendro, respectively. The two instruments’ tunings are set at right angles to one another in the gamelan.

Gamelan instruments are treated with the utmost respect by all people for their traditional and spiritual nature. Musicians do not wear shoes when they play and tread carefully, so as not to step over any instruments.

Kendhang

Periodically, during rehearsals, someone in the group calls out, “All change.” At that, the musicians move from one instrument to another. Some are cautious about trying something new, but others, like Ashley Goldman, eagerly jump at the opportunity to move from the saron to the kenong. The huge, gong pots are like a Western drum kit with more options. Everyone is urged to have a go at any instrument, though some take more practice. There is no pressure for perfection, just pleasure in participating and learning.

American Carol Walker heads up this Javanese gamelan group, helping others to delight in Indonesian culture through music. She and Tim Buehrer have grown their collection of pelog and slendro instruments since 1995, and the complete orchestra crowds one large room. “At times, the gamelan is half Indonesian and half expat – it’s a revolving door of musicians,” says Walker. Some come for the social night out, and the goal for others is to advance their musicianship. “Everybody is welcome here and possibilities for performing opportunities do arise.” These provide goals for practice.

Originally, the term gamelan was a broad one, encompassing a wide variety of music. Indonesians appreciated foreign instruments and styles and adopted their use. Over time, however, the rise of Western musical categories branded a standard form of gamelan music. It is enjoying a resurgence of interest in classes like Walker’s.

As the evening closes out, people chat, and a Western tune replaces the cyclical gamelan songs still swirling in many heads. Walker immediately recognizes it and grins. Pak Paron is jamming on a saron demung while a group member picks out the jazzy notes of When the Saints Go Marching In on a banjo. It is a madcap, magical moment. And originally gamelan.

To join the gamelan group, contact: jakartagamelan@gmail.com

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Tourism has impacted on the traditional Balinese way of life and changed the dynamics of this idyllic island and still the expansion of villas and hotels continues. A huge tourism development program is now being proposed for Benoa Bay — the project would include the conversion of a large mangrove conservation site and strains are already being placed on Bali’s water infrastructure. Binge-drinking tourists spill onto the beaches and bars of Kuta and Seminyak and violence and crimes are increasing in these areas. Recent figures reveal that one Australian dies every nine days in Bali — therefore raising awareness about responsible, sustainable tourism is vital for this small island’s survival.  Yet who is brave enough to approach this delicate subject?

Balinese artist and environmentalist Made Bayak Muliana made a bold entrance at Ubud Writer’s and Reader’s Festival this October — with a plastic bag replacing his traditional headwear, he presented at a Pecha Kucha event (in which speakers are invited to share their passion to the audience with 20 images for 20 seconds each). Tipping a bag of rubbish onto the floor, Made explicitly showed us the problem: plastic. Although the tourism industry has undoubtedly shaped Bali, for better or worse, plastic is now threatening to shape Bali’s eco-systems — cluttering up its streets, rivers and seas. I recently interviewed Made and found out more about his art exhibition Plasticology — a fusion of ‘plastic’ and ‘ecology’ — this art project used plastic waste to create artworks including paintings of traditional Balinese scenes, sculptures, video and installations to raise awareness about these issues to the public.

Made Bayak Muliana playing music at his exhibition

“In one of my exhibitions in Sanur I heavily criticized the mass tourism of Bali, which has converted our farm land into concrete accommodation and the greedy investment that has ruined our nature. People replied that artists are just spawning comments but not doing anything towards the cause, so I answered using Plasticology, which might not be a big solution, but at least I started it.

“We live in Bali, and Bali is one of the windows to see the world for me, and when the window is not cleaned from its dust, it’s hard to see outside. I am not anti-development, but it’s about how to balance it out. The government has a vital role so that the tourism industry has more positive traits and is beneficial for the society, instead of the massive exploitation and rapid transformation of land into tourism facilities.”

Even at university, Made was concerned about the heavy usage of plastic on his island. “During my years in the Institute of Art (ISI) in Denpasar, we had a subject which challenged the students to create an out/indoor art installation. I created an installation called ‘Plastiliticum’ to use an archeological term. In my mind, the inheritance from our era, when being excavated by future archeologists, will be our trails of plastic. The biggest footprint of this millennium is plastic waste.”

At Ubud Writer’s and Reader’s Festival, Made presented at various events, including a children’s program and a talk about environmental issues in Indonesia. At one exhibition, outfits with waste, including a dress made out of beer bottle lids, were also on display. “I bring Plasticology to schools and communities to be presented and give out workshop material. Plasticology is aimed to build collective awareness so that the public can care more about the environment, especially in Bali nowadays. In Bali, the lack of waste management and control is further exacerbated by the ignorant behaviour of the people toward this issue. And as a result, we have plastic waste all over Bali,” added Made.

“I think it would be important for the government to regulate the usage of plastic bags and plastic containers. Since Bali is heavily visited by thousands and thousands of tourists per year, the garbage mounds on the island increase, which flood to the cliffs and rivers and drainage and then, during the rainy season, flow down to the ocean. So, it’s a situation in which tourism is encouraging the beauty of nature and culture but at the same time ruining it. Kind of suicidal for me.”

Even the locals of Bali are following suit — their daily offerings, which included organic materials such as banana leaves and flowers, are now being replaced with modern-day items such as plastic plates. “We are changing this habit into plastic which is only compostable after hundreds of years. Another issue is the mindset of the people who keep throwing their waste around thinking that someone else will clean it for them,” said Made.

These offerings end up swept into the rivers and seas — therefore educating the locals of Bali is also important. Made is one of the teachers of Sanggar Anak Tangguh — a community project which provides education to children in Sukawati, Gianyar, using creative projects to ignite their imagination and curiosity. With a holistic approach to education, the foundation immerses the children into nature by visiting the rice paddies, local rivers and Ketewel beach, reminding children of the need to protect the environment.

Artwork by Made Bayak Muliana

Other organizations in Bali are also cropping up with the aim of addressing the problems associated with waste — R.O.L.E Foundation is an NGO which aims to alleviate poverty and ensure environmental sustainability by providing training, education and eco-tourism. Their program ‘Waste to Wonder’ in Sawangan, South Bali is a successful government-sponsored waste management system in which organic waste is collected and used to produce compost for ROLE’s gardens.

As well as providing jobs, this program has discouraged locals from burning their plastic waste.

A new hostel, Farmer’s Yard, has opened up in Canggu, Bali this year with the aim of ‘putting an end to careless tourism’ — their vision is to promote sustainable tourism based on a community model — guests are encouraged to cook local food together, compost their waste and to help in the permaculture garden. It seems, despite the obstacles, there is hope and many people are taking a bold stand and finally talking about, well, rubbish.

Further Information:

Made’s Projects:

http://madebayak.wordpress.com
http://anaktangguh.wordpress.com

Farmer’s Yard Hostel: http://farmersyardbali.com

R.O.L.E Foundation: http://www.rolefoundation.org/

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Breaking the monotonous routine of movie-bingeing and mall-hopping, Jakartans have the opportunity to watch a highly captivating play for a good cause. This summer, The Jakarta Players – a non-profit, multinational community theatre group that provides English language entertainment for Jakarta’s theatre-loving community – will be performing Annie Baker’s popular, charming and comical play Circle Mirror Transformation from 5^th to 7^th June.

The universally acclaimed play is set in an artsy small town and traces the lives of an unlikely collection of strangers who sign up for an ‘Adult Creative Drama’ class – the group includes a recently divorced carpenter, a high school junior, a former actress, and the teacher’s husband. Through the awkward, creative and imaginative class sessions, the characters and their relationships unexpectedly develop revelations, which brilliantly mirror their real lives off-stage, both in humorous and heart-breaking acumens.

“I fell in love with Circle Mirror Transformation on the first reading because of how interestingly the characters and their relationships are revealed and reflected through the drama activities,” said Andrew Trigg, Director of the five-person cast play and President of Jakarta Players. “Sometimes there’s a thin line between drama and real life!”

“We tend to choose plays that are more complex and filled with subtle emotions like this one,” adds Marissa Anita, the Executive Producer of the show. “We’re not afraid of complexity because it relates to people’s lives that are generally complex. This play is so funny, but at the same time deep, and at the same time it tears your heart – the emotions of the characters are so relatable, it will be stretched into different directions. I am very sure it represents the feelings of some members the audience.”

The play landed on the Top Ten lists of the New York Times and The New Yorker for 2010 with dazzling reviews, including one from The New York Times calling it “…an absolute feast. Circle Mirror Transformation is the kind of unheralded gem that sends people into the streets babbling and bright-eyed with the desire to spread the word.”

The play’s first ever performance in Indonesia has a line-up of vibrant and enthusiastic actors; a Brit, an Indonesian Brit, an Australian, an American and a Chinese-French.

“I was so happy when I was told I’d got the part of Lauren,” said 16-year-old Hanliya, the youngest member of the cast. “I read the entire play before my audition and fell in love with it, and I learnt all my lines before rehearsals even began. I can’t wait to play a part in sharing this play with Jakarta audiences. I think it’s wonderful.”

The entire process for Circle Mirror Transformation has taken almost three months of commitment and determination.

“Even though we are a community theatre, we take our process seriously and invest our best efforts to put up a professional play – we want to give the audience the experience they came for,” said Marissa, also one of Jakarta Players’ Board Members.

“When you have a good script and a good cast, you know you’re in for a good show. And that’s what we have with Circle Mirror Transformation,” said David Knowles, a Jakarta Players veteran, who plays the teacher’s husband, James. “Rehearsals are going very well and there’s a real atmosphere of collaboration and sharing as we work together with the Director to put on a great show. Please come and watch!”

Continuing the proud tradition of Jakarta Players, all the proceeds from the play will be donated to Taman Bacaan Pelangi, a non-profit organisation that has established 29 children’s libraries in 14 remote islands across Eastern Indonesia. “We realise the importance of education and are keen to do what we can to make a direct difference to these children’s lives,” added Marissa.

“By nurturing the love of reading and providing quality books, we want to help kids in Eastern Indonesia to reach their potential and become agents of change and help break the cycle of poverty,” said Nila Tanzil, founder of Taman Bacaan Pelangi, which was established in 2009. “To date, we’ve provided over 50,000 storybooks, touching the lives of more than 6,000 children aged between 5-13 years.”

The Jakarta Players conducts regular play readings and a minimum of two public shows per year. “We want to encourage more people to be a part of our community and explore their creativity! All kinds of theatre enthusiasts of any age, from all backgrounds are welcome!” said Marissa, a member of the community since 2005. Currently, The Jakarta Players have about 600 members registered, including expatriates and Indonesians. Those who are interested to join can register on the day of the play, or via their website.

Grab the chance to watch this brilliant play for a gentle, fascinating mix of laughs, longing and heartache, while making an important difference to Indonesian children’s lives.

June 5^th at 7.30pm

June 6^th at 2pm and 7.30pm

June 7^th at 2pm

Pavilion Apartment Clubhouse, Jl. KH Mas Mansyur Kav. 24 – right across from Citywalk Sudirman, Jakarta.

Those who are interested can buy tickets for only Rp. 200,000 (adults) and Rp.150,000 (students) from www.jakartaplayers.org.

Circle Mirror Transformation 5-7 June 2015

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Wars by definition trigger immense changes that spell the collapse of the old and the ushering in of new orders, values and sensibilities. One of the major art European movements to rise from the ashes of the devastation of World War Two was CoBrA. Founded in 1948 this revolutionary group of young artists declared themselves to be completely free to use colour and form as they wished. Major CoBrA artists like Karel Appel would blaze new tracks with startling canvasses marking a visual revolution and new world order that resonated with the rising star of New York’s Abstract Expressionists and L’Art Brut in Paris. The new wave would not go unnoticed by the likes of Affandi, Indonesia’s best-known and greatest abstract expressionist.

Of course no art movement ever leaps forth from a void or vacuum. Although brash and egotistical, CoBrA artists did not fail to praise artists of the previous generation who had inspired them and contributed to their philosophy and radical style. One of the most prominent of these was Pieter Ouberg (1893-1956). Virtually unknown outside a small inner circle of art lovers, Ouberg would only achieve recognition as a major, seminal influence on post-war Dutch abstractionism after his death as a direct result of CoBrA.

The answer to the question why Ouberg never achieved recognition during his lifetime is simple – he lived in Indonesia, far from Europe’s art scene, for more than 20 years. His stay in Indonesia would begin in 1916 when at the age of 23 he was assigned to a teaching post in an elementary school in West Java. In the next years he led an ambulant life moving from post to post in West Sumatra. This would end after marriage when he, his wife and their newly born daughter settled in Malang, a colonial hill station south of Surabaya in East Java.

Ouberg found himself an odd man out when it came to colonial society. Although he was not politically active he displayed a deep sympathy for the hardships endured by native Indonesians. Outside of his official duties he spent most of his time with his family and largely avoided fellow Europeans whom he felt were boars and cultural philistines with little interest in his passion – art. An active and talented draughtsman from his youth he would complete a degree in Surabaya to teach drawing in 1919. While his free time was limited he nevertheless manage to produce a number of promising sketches of Javanese peasants in a style highly influenced by Vincent van Gogh.

It was only in the 1920s that Ouberg began developing his own style driven by two main influences. The first were the dynamic European modern art movements, which he had been long following from afar. In 1923 on an official leave of absence he would catch up and experiment with the new trends including Cubism while completing another art degree in the Hague. The second influence came as an epiphany-triggered affinity to Javanese art and culture. Upon his return to Malang in 1925 he would write, “Suddenly it captured me. The art of the East, the art of old Java. I’m forgetting this miserable little town with its electric light, its asphalted streets, its ghastly European culture.”

Shortly afterwards the family would move to the far more cosmopolitan capital Batavia where he taught art in a prestigious high school. With far more time to practice art he also participated in the activities of the Batavian Art Circle (Bataviaasche Kunstkring), an association of artists and art lovers who promoted the arts in the capital of the Dutch East Indies. His circle of friends included Frank and Adolf Breetveld, two young artists who like Ouberg found the prevalent neo-Impressionist “Beautiful Indies” school vacuous and meaningless and the half Indonesian painter Jan Frank Niemantsverdriet. The four would often travel together to paint landscapes and ronggeng dance troupes viewed by most Europeans as being unsavoury. Ouberg and his friends cared nothing about their opinions. At one point he would even describe a European operated company as “a white fungus on the face of rich Indonesian life.” He was particularly vehement about the need to protect local cultures against western contamination arguing, “They are rooted to this land, and they belong to that land; because they see it, hear it, smell it, feel it with all their senses.”

An unexpected mystical union between modern art and thought and the ancient traditions of Indonesian art would stimulate Ouberg to produce a startling new series of modern artworks featuring Javanese masks in a style that combined both Cubist and Abstract Expressionist tendencies. Little known and rarely published they are among the earliest modern works painted in Indonesia. Like many artists of this period he perceived the masks of other cultures as magical objects describing them as “frozen ecstasy” imbued with inherent “divine or demonic” powers.

In the following decade Ouberg would produce even more astounding paintings under sway of two new European movements – Surrealism and Abstraction. His first encounter took place 1931 when during another leave in Holland he attended the L’Art Vivant exhibition in Brussels that included major Surrealist works by Arp, Dali, De Chirico, Ernst, Klee, Leger, Miró and Picasso. The first abstract painter Kandinsky was also present. He described the impact as a ‘crack of a whip’. The show also made him aware of the challenges of living so far from the centre and the need to focus if he was really serious about making world-class art. In many ways Surrealism suited his Javanese rooted magical-mythological sentiments perfectly. He would immediately set to work and mount his first solo exhibition in the De Bois Gallery, Haarlem, Holland in 1932 shortly before returning to a new posting in Bandung.

Ouberg’s radical new work did not find much favour back in a still stuffy and conservative Batavia. This would begin in 1932 when a series of automatic drawings that had been approved by a jury of experts for a group exhibition were denounced as erotic and unceremoniously removed. Against the background of an increasingly acrimonious struggle between the old guard who demanded that art should be dignified and beautiful and an increasing number of artists and curators influenced by modern art, Ouberg found himself isolated. Described as an ultra-modernist by one art critic, another went so far as to say that Ouberg’s paintings made him feel like he was “lost in a collection of curiosities or insane asylum”. The antipathy to his work and modern art would even provoke a nasty debate in a medical lecture where his art was described as degenerate. Ironically the stress and the absence of his closest circle of friends who had returned to Holland or moved elsewhere pushed him into depression that caused him to seek the aid of a neurologist and to withdraw from the Batavian art scene.

Another factor that impacted his mental state and art was the rise of the Nazi party and Fascism in Europe. Although rarely mentioned there was a small but vociferous faction of N.S.B. sympathizers (Dutch Nazi Party) in the Dutch East Indies who like Hitler denounced modern art as decadent and proscribed a radical cure – its destruction. Apprehension about the situation drove Ouberg to paint a series of dark Surrealist works representing explosions and enigmatic images of dark landscapes. Highly mercurial and experimental, in the second half of the 1930s he focused on still life paintings. While the style was at least ostensibly realistic – the objects in this “assemblages” were bizarre and often half imaginary. Working completely divorced from the art scene, none of them were ever exhibited in the land where they were made.

In 1939 at the age of 45 the prematurely old artist boarded a ship for Holland never to return to Indonesia again. He arrived in Europe with great hopes to devote himself to art and find a more appreciative public. The harsh reality of the world depression forced him to teach again. So, too, his vision of a dark explosion became real when the Germans invaded Holland in 1940. As in Indonesia Ouberg continued to work in solitary isolation. After the war he would gain modest recognition in The Hague and at least among insiders was acknowledged as a seminal artist of importance. In the late 1940s he would take part in several group exhibitions at the Stedelijk Museum in Amsterdam. These would lead to him being invited in 1949 to join the newly formed CoBrA Movement. He turned them down because of an antipathy towards groups. They nevertheless adopted him as one of their own. Ouberg continued to astound until his death at the age of 63 in 1956. He continued to view himself as a Surrealist and Indonesia the land that had opened his spirit and mind.

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“Music melts all the separate parts of our bodies together.”

Anaïs Nin, Delta of Venus, Erotica 1977.

When it comes to cross-cultural amorous relationships, cavorting male artists have gotten most of the attention and a bad rap to boot. While trysts between women and the locals are rare, or at least have been little spoken of, the truth is that just like the rite of passage of Australian and Japanese girls and Balinese lovers, they do exist. If you dig deep enough, there are a significant number of cases of older western women with young local studs.

Anaïs Nin, the Franco-Cuban feminist who was the lover of Henry Miller and author of groundbreaking erotic books, dealing with hitherto taboo subjects, best describes the sensual allure of Balinese males to western females – “Men…have honey-coloured skins, glossy black hair, and dazzling smiles”. Apparently Anaïs was focused upon one particular man, Subudi, a handsome young guide who accompanied her day (and night) during a visit she made to the island in the early 1970s. In, “Spirit of Bali”, published in the January 6th, 1975 edition of New York City’s avant-garde newspaper, the Village Voice, she longingly describes her companion who apparently sought to please her in every way: “Subudi with his oriental slanted eyes, his good profile, his dazzling white teeth, his soft black curled hair…He was like the Spirit of Bali itself, like the bamboo xylophone, delicate and muted…His gentleness and soft ways…stayed with me”.

Ms. Manx or K’Tut Tantri (only two of her many pseudonyms) was an earlier aficionado of Balinese studs. Although she portrays herself as a chaste innocent girl constantly being wooed by an endless line of Balinese suitors, including several handsome princes in her controversial biography, Revolt in Paradise, in reality she seems to have had a libertine attitude towards cross-cultural sex. According to internal colonial government reports made to expedite her deportation she was a “…woman of low morals…a nudist”.

While these may have been biased by the Calvinist attitudes of the Dutch bureaucracy, any suggestion of platonic relationships is shattered by her casual remark to the Italian artist, Emilio Ambron, that “at my age and with my looks you take your pleasures where you can get them”.  In a recent book The Romance of K’tut Tantri by Timothy Lindsay, one chapter is titled “Playgirl or Resistance Fighter?”

As today, many expatriates in Bali before the Second World War, including Ms. Manx, had apparently come to the Island of the Gods in search of an identity and income. The favourite default categories in the era were artist or writer and she chose the former (she would only reincarnate herself as an author after the war).  Few of her paintings have survived and those that have raise little more excitement than a yawn. Some people were polite and others simply described her paintings as untalented.

Persistent in every way, she tried to ingratiate herself into the elite circle of Spies, who once described her as awful. Ambron, who described her as the ugliest and most detested expatriate woman on the island, found her blunt, manipulative character amusing in small doses.

Others were less fortunate. Robert and Louise Koke, a talented photographer and painter, met her soon after they checked into the luxury Bali Hotel in Denpasar.  Robert was an athletic and dashing young chap who worked in Hollywood when he met his beautiful unhappily married soul-mate, Louise. After their torrid affair was exposed, they fled to Asia in 1938 with no plan other than avoid the scandal and have fun. Their arrival in Bali was a complete fluke. After arriving in Hong Kong they went to Thomas Cook to book a trip to Angkor Wat. The agent recommended the hottest new destination – Bali – because it was rainy season in Cambodia.  One glance at the exotic photos of the island of bare breasted beauties was enough to win them over.

A week later they found themselves on the veranda of their room at the luxurious Bali Hotel when Ms. Manx introduced herself as an artist and Bali expert. At the time Manx was one of a host of expatriates cruising the hotel and tourist haunts in hope of bumping into a naïve newcomer to whom they could hawk anything from an “insider’s tour”, cheap accommodation and, of course, art and antiques. She found a receptive host in the Kokes who fell in love with the island and decided to build a fantasy South Seas beach hotel to compete with the staid European atmosphere of the colonial establishments.

Manx, in a sense became the island’s first expatriate real estate agent. She took Robert and Louise on a tour. When they reached Kuta Beach, somewhere near today’s Peanuts Club, Robert, who had became an avid surfer after working as an assistant director for the King Vidor film “Bird of Paradise” (1932) starring Dolores del Rio, became the first man to notice that the beautiful waves breaking on the Kuta Reef were world class. Everyone was so happy that they asked Manx to join them as partners in the project.

The story of him ordering surfboards and the building of Kuta’s first hotel is the subject of Louise’s entertaining book “Our Hotel in Bali”.  Written in 1942, but published after the war, it tells the entire story but with no mention of Manx. The reason for Louise’s silence is twofold. While they were in Java arranging their visa, Manx attempted to unsuccessfully seize the property for herself. They were so traumatized by her betrayal that they expurgated her from their memory. Secondly, their lawyers warned them that K’Tut, a nasty work with connections and a bad reputation, might bring litigation against them.

Robert would only speak about the matter when I interviewed him in 1994 when he came to Bali to donate his photos and Louise’s paintings to the Neka Museum in Ubud. Physically frail and nearly blind, but with a mind and memory as sharp as a razor, he described Manx’s antics with Balinese boys eager to check out the physical attributes of a European woman even if she was an ugly old tart.
The Kokes were not the only ones with an axe to grind with Manx. After the Japanese invasion, Manx developed an extremely close relationship with the Japanese and was even said to live with one officer. According to Maria Hofker, Manx approached her and offered help as the situation got worse and it looked more likely she and her husband Willem would be sent to a prisoner of war camp. Maria gave her a cache of her husband’s paintings to safeguard. Later they discovered she carried them to Surabaya, removed Hofker’s signatures, affixed her own and held an exhibition of her latest work which she sold to the Japanese officers.

The more tawdry colonial literature is riddled with stories of western women falling in love with natives usually with disastrous results – embarrassing pregnancies, being sold into slavery and death. While less prominent and less known, the magnetic attraction of the forbidden has smitten both sexes. While it all seems quite normal nowadays, the old stereotypes seen in the paintings of Ashley Bickerton are still alive and well.

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Where to start? Sanur’s restaurants’, hotels’, and galleries’ walls are adorned with work from artists right across Bali, but where to source the locals? A Sunday morning stroll up Jl. Sekar Waru, the street where I live, provides the answer. At a busy junction, I see Warung YaYaa that has a few interesting paintings displayed haphazardly around the open terrace. I take a few tentative steps through the gate and am warmly welcomed by the irrepressible Igo Blado. Igo, a musician, entrepreneur, traveller and lover of art, manages the Fine Art 10 group of artists who reside and work in Sanur.

Seek and ye shall find!

Within a day I have the privilege of taking tea with Apel Hendrawan at his home studio beyond the bypass in Sanur. A few minutes after my arrival, we are joined by Made “Romi” Sukadana who roars up on a vintage BSA. Originally from Denpasar, he is now a Sanur resident and a new recruit to the Fine Art 10 group. Surrounded by Apel’s work in progress for his upcoming solo exhibition, both artists are forthcoming in their enthusiastic approach to their work. My limited Bahasa Indonesia is overcome as Igo, their effervescent manager, becomes my interpreter.

Apel’s vast canvasses depict women in various stages of trance; striking images that in some radiate a deep sense of peace while others capture the essence of a troubled dream. Studying the paintings closely, one can see that all the women in his work display intricate tattoos that run up their arms and intricately entwine their torsos. Looking at Apel and his heavily tattooed body, one can see where his inspiration lies. His mediums are canvass and skin. I took some time to visit his tattoo studio, Sanur Ink, where I watched him at work ‘inking’ an elaborate dragon design onto the arm of a Dutch tourist. Although much in demand as a tattooist, he tells me his passion is for the oils he applies to his canvasses. After studying at the Bali Art and Design School, Apel was one of the original founders of the Himpunan Pelukas Sanur (HPS), affectionately known as the Sanur Painters Community. His work is exhibited regularly in and around Sanur, as well as being shown in galleries in Ubud and Jakarta.

In contrast, “Romi” Sukadana’s work has the appearance of Balinese cultural tradition, yet in each piece there is also a glimpse of Andy Warhol. The work revolves around classic Balinese representations such as the Rangda Dancers applied to recycled cardboard packaging. His traditional depictions sit comfortably side by side with modern iconic brands such as Bintang, CocaCola and Campbell Soup. The juxtaposition is stunning. In some, the dancers’ eyes focus on the products that hover at the edges of the painting; however there is no malice or judgement in the gaze, merely an observation. This series entitled “hidden connections” has attracted attention from major galleries from as far afield as Frankfurt, Germany.

In Sanur, to find great artists and their work, all one has to do is take a stroll around one’s neighbourhood. Visit the restaurants, the galleries, and the Warungs – it’s all there waiting for you.

Apel Hendrawan’s solo exhibition and launch of his autobiography, Resurrection, will be at the Santrian Gallery, Sanur, 24th July, 2013.

Both Made Romi Sukadana and Apel Hendrawan’s work will be on show as part of the Fine Art 10 tour, 2013 at Satu Natah Tiga Langit “Langit Gemilang” 5th July 2013 at Sangkring Art Project Jogjakarta.

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Why is it that writers come to Bali to pen a novel, a poem or a memoir?

I simply don’t know, is the answer for me, but somehow I find myself returning ever more frequently to this paradise to put pen to paper. Is it something in the air? The soothing trade winds? The scenery? Or is it the wonderful nature of the people who provide the inspiration? Each author has his or her own reasons, but whatever they are, Bali has been the setting and the venue for some remarkable books down the years.

Apart from some of the stunning local literature and Eisman’s insightful Bali Sekala & Niskala, books from some of the expats that have settled here, have told their stories well. William Ingram’s A Little Bit One O’ Clock is a classic view of living with a Balinese family and is a must for anyone settling here.

Who can forget Colin McPhee’s classic, A House In Bali; the Canadian musician who introduced the magic of gamelan to the West in the 30s. Or indeed Louise G. Kote’s Our Hotel in Bali, written in 1936 when Kuta was but a poor fishing village.

The trend has never stopped when one thinks of Janet De Neefe’s Fragrant Rice, a tale of passion, marriage and food published in 2003 and a wonderful follow up to her Stern Men from 2000.

Bali has lured writers, painters and indeed all associated with the arts to its shores like a siren calling from the sea. However, not all methinks should be chaired around the island shoulder high.

For my money, Elizabeth Gilbert’s Eat, Pray, Love went a long way towards ruining Bali’s reputation. This trite novel of one privileged woman’s quest for self-discovery, while at the same time romanticizing poverty and oohing and aahing over the locals, was quite frankly embarrassing.

There are now scores of women from the West who flock to Bali to emulate Gilbert’s so called “enlightenment”, with their expressions serene, their caftans expensive and their luggage Louis Vuitton. Some of these devotees are themselves embarking on a tome or two, cataloguing their mystic experiences.

Bali surely does not exist solely so the rest of us can seek pleasure and find our true deep selves?

Perhaps a better title should have been Eat, Pray, Leave!

It is the pioneering writers like De Neefe whom I admire the most. Apart from being a whizz in the kitchen, raising four children, running two restaurants with her husband Ketut and crashing out the odd novel, she manages to dream up an event like the Bali Writers Festival(in conjunction with Heather Curnow). This forum is a testament to the lure of Bali and an inspiration for would-be novelists from around the globe. If this is the sort of writer that Bali produces, it is certainly her whom I wish most to emulate!

This brings me full circle to the beginning of this piece, about what it is that attracts writers to this Island.

(And now for a little shameless self -promotion.)

In 2010 I was fortunate to have the opportunity to spend four months on Bali while my wife fulfilled a teaching contract at IALF. I had had an idea for a book and, with nothing to occupy myself, I decided to finally ‘have a go’.

Thirty- nine days later Final Diagnosis was written!

How could this be? Where did the daily inspiration come from?  I still ask myself that question as at the time the words poured from me like water from a gushing tap.

The two follow up novels, Blowback and Counterpoint have needed a touch of Bali when they faltered and stumbled in other climes.

So in essence I am not sure what it is. But whatever it is, I will keep coming back for more!

The views expressed are those solely of the author.

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Jamie Cullum – Photo Courtesy of www.jazzuality.com

The energy was high as I stepped onto the premises of Jakarta International EXPO Kemayoran, Jakarta. The 10^th annual Java Jazz Festival was in session and it sure brought a big crowd. This year’s special show performances were the ever-so-energetic (and perpetually drunk) Jamie Cullum – who treats the stage and his piano as a dance floor – on Friday, and the graceful Natalie Cole on Sunday. The last day of the festival didn’t show signs of slowing down as the excitement for a climactic finale brewed.

As many made their way in on Sunday, bands were playing on the centre outdoor stage, pumping up concertgoers’ excitement. The venue was divided into a couple of indoor stages and an outdoor stage, as well as a couple of rooms on the upper floor of the main building and a couple of smaller café-oriented stages.

For some reason, show schedules were not printed out as fliers on that last day of the festival; the only way to check for performance venue and time was to consult the directory map at the information desk. The time was 4.45pm and the schedule showed that performers like Joey Alexander was about to wrap up his performance in 15 minutes or so. I wasn’t going to miss out on the chance to watch a 10-year-old jazz piano prodigy in action, so I rushed to the room he was playing in. Lo and behold, Joey was playing with renowned Indonesian bass player, Barry Likumahuwa; it was a fusion of genius and madness. Catching the last 10 minutes of that performance was quite an experience; Joey’s talent is out-of-this-world. Before Joey Alexander Trio’s final number, Peter Gontha, the man behind Java Jazz Festivals since its birth in 2004, made an appearance and congratulated Joey for being a star in Indonesia’s jazz industry. Joey signed off with an endearing, “Thanks for watching, everybody.”

The thing with jazz festivals, or any festival for that matter, is the waiting period between seeing one highly sought-after artist to the next; the tendency to wander around and exploring lesser-known names is high. I, for one, am glad for the waiting period as I had the chance to experience the artistry of a band I’ve heard of but have not paid considerable attention to – Snarky Puppy. For a name that seems unfamiliar to most, Snarky Puppy’s performance drew a sizeable crowd. The seven-man band that hails from New York and Texas didn’t expect such a turnout at the show. A band whose genre is more funk-fusion than pure jazz, Snarky Puppy’s signature style is their groovy beat and interesting licks. Devoted fans sang along and danced to their songs. As it turns out, Snarky Puppy is a force to be reckoned with.

Natalie Cole – Photo Courtesy of www.jazzuality.com

Around 7pm, the crowd thinned out from some of the stages and saturated the special show venue, all in anticipation of the great Natalie Cole. Others, like myself, chose to see the American up-and-comer Allen Stone instead. The powerhouse singer showed incredible musicianship as he went from the upbeat and funky song titled ‘Satisfaction’ to slower blues-oriented ballads like ‘Million’; an all-around stellar show. Attendees who went to Stone’s Friday performance were stunned at the amount of energy there was on stage at his Sunday performance. “People had a more laid-back approach on Friday, they were sitting down and were more relaxed, but today’s crowd was much more enthusiastic,” said Trina, an Allen Stone fan who went to both shows. Allen’s set consisted mostly of songs from his upcoming album; his soulful Marvin Gaye-esque influence is deeply rooted and clearly apparent even in his newer tunes. Towards the end of his show, Allen sang a bluesy rendition of Bob Marley’s ‘Is This Love’ and the crowd went wild!

Winding down from the highly explosive Allen Stone show, I went to a more intimate one featuring Jonathan Butler. The seasoned singer-songwriter and guitarist, who’s also well-known in the gospel music circuits, played a set of R&B and jazz songs, some more funky and upbeat and others were perfect to accompany a slow two-step dance. Butler’s horn section – one trumpet and one saxophone player – coloured his show with their skilful solos and playful riffs. Butler called to the stage a lady he met the night before to join him; it was Maya Hasan, Indonesia’s famous harpist. Maya joined Butler and the band on her harp playing two songs, one of which was titled ‘Do You Love Me’. Butler joked around and directed the words ‘do you love me’ on this song to Maya Hasan as he expressed how beautiful she was and pretended to woo her. The audience laughed as Maya blushed. Butler’s raspy yet strong voice is reminiscent of old Motown singers; smooth and soulful.

The very last show of the day, and the final one for the whole festival, was India Arie’s. Fans of India Arie would know that her deep alto voice and beautiful, tasty riffs are the bread and butter of her music. However, watching her singing live is a whole different experience compared to simply listening to her records. India is truly an engaging performer, taking her audience on a journey throughout the show. She started her set by announcing that this is a “songversation”, a term she used to describe the interactive nature of her show and the title of her latest album. India proceeded with her well-known songs such as ‘Video’, ‘Brown Skin’ and ‘Cocoa Butter’, all the while giving a chance for all her band members and background singers to have solo singing parts – and they all have impressive voices! India’s music has imprints of African as well as Middle Eastern influence amidst her R&B sound.

India Arie – Photo Courtesy of www.jazzuality.com

India brought audience members on a spiritual journey when, in between songs, she explained the background behind writing them. She quoted James Baldwin’s “Love is a battle, love is a war, love is a growing up” and stated that most of the songs she wrote are on love – love of yourself, of others, of your body, of your inner power – and that the purpose of her music is to spread love and positivity. India’s mum made an appearance and displayed her vocal prowess on the closing number, a snippet of ‘Soulbird Rise’. The night ended with an encore performance of ‘I Am Ready for Love’. A well-deserved climactic finale, India was. Her performance, and essentially Java Jazz Festival as a whole, came to a close at around 12.30am.

For those who feel that Java Jazz Festival is not sticking true to its jazz origins, remember that jazz was the predecessor of many other genres. And like the evolving jazz music, we can only hope that the Java Jazz Festival will bring us even more local and international talent next year.

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