1. A length of line, thread, ribbon, or other thin material that is curved or doubled over making an opening.

2. Something having a shape, order, or path of motion that is circular or curved over on itself.3. Electricity A closed circuit.

4. A segment of film or magnetic tape whose ends are joined, making a strip that can be continuously replayed.

5. Computer Science A sequence of instructions that repeats either a specified number of times or until a particular condition is met.

www.INTworldwide.net
I.N.T. Worldwide’s Soundcloud
www.twitter.com/INTworldwide

Inspired by Golden Age producers such as Prince Paul (the master of skits), Large Professor, Diamond D, RZA and many other sample based producers, La Melodia’s I.N.T. has trawled record crates for more than 15 years. His record digging has resulted in copious amounts of breaks, samples and loops. Some are useful. Some are very useful.

In any case, the Amsterdam-based and Eindhoven-raised producer completed this exclusive loop-tape for W_Music using the breaks, loops and samples he has collected over the years. In this obscure mix, loops are assembled from records hailing out of almost every continent, encompassing soul, jazz, Latin, roots music and sound bites from Africa, Brazil, Europe and of course Indonesia, all weaved into a 60 minute collage of beats, loops, edits and remixes. 

For Indonesian listeners, keep your ears open for AKA, a bit of head banging Jaipongan, some blazing Dangdut riffs and even some 1980s television and radio adverts.

So grab yourself a nice drink (or your favourite psychotropic substance), open your mind, and press play!

The current Minister of Tourism & Creative Economy of Indonesia is renowned as an effective public speaker and innovator. Mari Pangestu is widely recognized by the international media, serving in the Bulletin of Indonesian Economic Studies founded by the Indonesia Project of the Australian National University, the Board of External Editors of the Asian Journal of Business (University of Michigan) and also the co-coordinator of the Task Force on Poverty and Development for the United Nations Millennium Project. She obtained her Bachelors and Masters degree from the Australian National University, and her doctorate in Economics from University of California at Davis, United States. Whiteboard Journal had the opportunity to talk to Mari Pangestu about the future of Indonesia’s creative economy at the Goods Dept in Jakarta.

Hosted by: Leonard TheosabrataDirector of Photography: Heru Admadja

Editor: Ken Jenie

Thank You
Ministry of Tourism & Creative Economy
The Goods Dept.
Studio 1212

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Ministry of Tourism and Creative Economy

Not only will you get hands-on experience working side by side with different departments in producing Whiteboard Journal programs but will also be involved in special intern-only projects. Designed both as a learning experience and to encourage individual creativity, these projects will have you working independently and in groups to create works that is supervised by Whiteboard Journal but whose content is entirely yours. This is your chance to showcase your talents and have the world as your audience.

Requirements:
• Must be located in Jakarta as our office is located in Kemang
• Able to intern full-time in our office, 5 days a week
• Posses strong English writing skills
• A strong interest in various subjects such as art and design, music, fashion, culture, even social-economics
• Knowledgeable and have a keen interest to keep on learning
• Basic Photoshop skills is a plus!
• A sense of humor is highly recommended

Leonard Theosabrata

(Leonard Theosabrata Design)

W: Can you tell us your role in Brightspot Market?

Aside from being one of the co-founders, specifically I’m in charge of the interior, the concept, and also, basically the building process of the event itself, the production of the event. That’s my main focus.

W: Brightspot Market has always taken place in a mall, where the set-up is already available, how do you put things together?

One of the initial ideas was to utilize the underutilized spaces in the mall. Back then – two years ago – there was a lot of empty lots in the mall, all over it. I mean we’re not just talking about newly opened mall, but it’s also the existing mall, the established mall, they have like [a lot of spaces], just oversupplied, and we kind of captured that opportunity, I felt like, “Okay, they offered us space and they wanted us to throw an event,” ‘event’ back then means ‘bazaar’, you know, all this kind of thingw, so we didn’t want to make just another ‘bazaar’, so that’s why we came up with the market concept. Basically, the idea is  to utilize the empty lots and then make it into a temporary retail event market that can generate retail activity and also, be considered a cultural activity, but it’s not just about shopping, actually, it’s more than that.

W: How do you take the reference of the design then?

Mainly, it was just function-based, we looked at it, like, “Okay, empty lots, there’s nothing. The floor’s messed up, the wall’s messed up, no AC, or maybe yes, there’s AC, but we have to do something,” I mean whatever necessary to bring the space to the requirement that we need, we will do, and the rest is just like assigning the lots and build up the… I mean the look has to fit the market, which is by now you can call it the Brightspot Market, the Brightspot generation, or whatever. And at the time we look the references [from], for example, Bread & Butter, and some other events in America, they do these temporary events that are very much industrial, not much decoration, but you have to pay attention a lot on the layout, the flow, and the organizing part of it, and also the essence, so we pay attention to the essence and none of the embellishment, so it’s just purely function, function that meets the requirement of the market.

A lot of people, they do events and they’re like, “Oh, we gotta do the ‘wow’ factor, this and that,”. We don’t do that kind of thing, none of that – I mean yes, we do it in our way, which is we pay more attention to the basic things. For example, even to the business concept of it, we set to accommodate, for example, affordable prices from the beginning so that these new entrepreneurs and businesses can afford it, instead of like having all this establish concept going into our new concept, it doesn’t work, so we want new concept in our new concept, and for that you have to sacrifice, you have to sell at a very affordable price; in the beginning it was like two million [rupiahs] or something, now it’s like eight, because it’s growing. But we invest in our brand equity, we invest in our tenants, I mean we give them the opportunity in the beginning, we didn’t make money.

W: At Brightspot Market, the tenants do creative things with design, they give full retail experience, but it’s only applicable and successful at Brightspot, so do you think they can do that independently?

I think a lot of the brands is using Brightspot as a launching fest, either they want to release their new collection or it’s their first time to release anything, I think they like Brightspot as a launching fest. It also gives them a different, like a unique retail experience because they’re dealing with a certain market that came, but there’s also other kind of people – that’s why we do it in a mall, so it will not generate only segmented market, because Indonesia, as we know, has a really huge market, so in terms of applying it from Brightspot to conventional retail, I think there’s a lot of changes needs to be done, they cannot literally go like, “I’m successful in Brightspot, I think I have the confidence to open my shop now,” well, Brightspot is a 4-day shopping frenzy, it’s full of energy, I mean in real retail, just like when we opened The Goods Dept for example, we really think about that, like, “Okay, how do we change the excitement from Brightspot and transfer that into a permanent retail that opens everyday?” How do you translate that? I mean that’s very important, the way you do it is gonna determine the success of your concept. If you just think, “I can sell this much at Brightspot,” well, yeah, it’s forty-something thousand people in four days, I mean how much is the average traffic in a mall? You have to be careful about that, don’t be complacent and then you’re like, “I’m ready to open a shop.” You have to really access every market, every location is different, every set-up is different, so retail is very complicated, but it’s a good barometer for them to see whether or not people are interested in their products.

W: Brighspot Market has always been held in malls, do you think about bringing Brightspot into a different location, like outdoor spaces?

We’d love to, but depends on the cost of building up. It’s gonna be more expensive. And I think it’s bullshit when Indonesian people say it’s okay to be in outdoor – no, they like AC, man, they like to be inside, in the car or in the mall, like, no way, man, we love our AC (laughs). I don’t think it’s going to be successful if it’s outdoor. Just that, plain and simple. We, as Brightspot, are not confident enough to go outside mall – for obvious reasons: parking, convenience of others, facilities that will support the event. I mean the tendency of Brightspot visitors is that they go into ours, they go out and eat, and maybe the even like wait for hang out in some other cafe, and then they come back again with their friends, and they go out again, they do something, and then come back again. So, if it’s just Brightspot, that whole circle won’t happen, the circle will be different, so I think it’s good to be in a mall, and we’re always gonna try to be in a mall, if they permit us. The problem is we’re growing all the time, the next one is gonna be 3000 m2, huge.

Hightime Rebellion: The Jakarta-based indie band Hightime Rebellion was formed by Rendy (vocals/piano/guitar), Pulung (bass), Jason (guitar), and Reza(drums), in 2007, and later came the addition of Miyane (vocals) and Adji (guitar). With the mixture of Brit pop, funk, folk, and rock, they’re paving their way on the diversity of Indonesia’s music scene and gaining public attention as well. This year, they had the honour to rock the stages of huge music events in Indonesia such as Nylon Music Festival, Trax FM Terusik Traxkustik, Java Rockin’Land and Beatfest – such great opportunities came as a fruitage to their early experiences of performing at indie gigs in Jakarta and its neighbour, Bandung. Aside performing in big events, this year they’re also working on a debut album under FFWD Records.

Setlist
Sail
Mines
Melody Taker

Director of Photography: Heru Admadja

Editor: Ken Jenie

Thank You
Hightime Rebellion
Ark Galerie
Punang Adipradana
Januar Kristianto

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Hightime Rebellion MySpace
Hightime Rebellion Twitter
Hightime Rebellion Facebook
FFWD Records

 
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Rain Chudori: At the age of 16, Rain Chudori has solidified herself as one of Indonesia’s best up and coming writer. Having multiple articles and stories published in media such as The Jakarta Post, Tempo Magazine, and Jakarta Globe. Her writing ranges from short stories to film reviews, showing versatility and a wit not many could match. With such distinction at a young age, the future is bright for this writer.

Strange feelings emerged that evening when we arrived at Abdullah Harahap’s abode in Bandung. A large, emerald-green-colored relief of a woman with devil’s wings glanced at us at the porch. There we stood still, somehow feeling uneasy with the woman’s glance… until Pak Abdullah showed up and let us in.

For those who grew up in Indonesia during the 70’s to the early 90’s, the name Abdullah Harahap on the cover of a book (usually illustrated with hand-drawn images of women in provocative poses and creepy-looking creatures) is a guarantee to some scary good time. Undoubtedly the most prolific horror writer in Indonesia, Abdullah has written more than 80 titles of horror novels as well as scripts for movies and TV.

After years of hiatus from writing novels, in 2010, Abdullah and his chilling creatures returned to greet us the living—his books, long regarded as ‘pulp fiction’—is now published by an imprint of Indonesia’s top literary publisher.At 68, Pak Abdullah’s alive and well and updated about the goings-on in today’s world. We spent an entire evening conversing about almost everything in the realm of the living over clove cigarettes and cups of strong, dark roast coffee.

W: You started  working as a journalist for 30 years, how did you cope with the transition from being a journalist into a writer for stuff such as Romance?

Actually, since high school I started writing short stories, when I became a student in university, I fell hard into the novels. Since I became a journalist, I got involved with reporting about crimes and local issues because I was working with the Crime and Government section; I took that as an advantage to write my novels. I got the chance to get to know new people,
different personalities, lots of cases… and as a Journalist I tried to write as most of my Journalist friends do, which was to only write about the surface of the content. Do you know what I mean? Writing embodies and wraps up what happens in a current situation. Personally, I like to dig up what’s really in that certain situation. Due to that habit, I encountered many issues. For example, there is a raw story and it’s events – from that source I probably use around 10-20% of its content. The rest of it is imagination. Due to that, I wrote about romance, but most importantly, Mystery.

So back then, I was known more as a writer of romance, in fact, every time my friends come up to me, they usually joke “are you still writing pornography?” There are some positives from time I was a romance writer, but most of the time it isn’t positive. In fact, it was an issue for the magazine staff. But one day H. B Jassin, may he rest in peace, defended me. He argued that without that [pornographic] part of the story, the whole storyline will have no meaning behind it. So the perspective of sex is very important, it defines a charachter’s personality and cause. So in H. B Jassin’s wise words, if you throw that part away, the character will lose it’s existence. So at the end the story got published, as, how can I say, A pornographic-type story.

If you want to know why I wrote in that category, well around 67’-68’ I was a student at IKIP Bandung or UPI. Anyways, at that time a deaf woman died in the middle of a lake. A lake in the middle of a paddy field, she was found with her newborn baby, who was also dead. So the story behind it was that she was around her village for months, but no one knew that she was pregnant. But, when she died the local police were busy looking for the suspect who killed her. But the police couldn’t find anyone or anything. How could a human being sexually harass a homeless, innocent woman? That formed a sort of anger in me and that infuriated frustration led me into writing [Horror and Mystery] stories.

I took that story into a novel, titled “Dikejar Dosa” (Chased by Sins), and the story got into Stop Magazine. I took around 10-20% of the event’s content, and it was reported by Stop Magazine, it wasn’t finished yet when it happened but they wanted to continue it later until Wim Umboh, may he rest in peace, bought my story and fitted it into a film, which turned out to be successful in Indonesia’s modern Horror film market. So when you think about it, the story wasn’t finished yet, but somehow producers bought it, made it into a film and turned out successful.  That’s how it all happened.

W: So, as you explained, the facts within your story is around 10% of the piece, and the rest is imagination. May I ask, are there any other similar experiences like that one? A supernatural event maybe?

In my view, supernatural events are from imagination. As a Muslim, I believe that satan exists, but I don’t believe that ghosts exist. There’s a big difference between satan and ghosts. I believe that satan is god’s creation according to the holy book, but ghosts are just human imagination, a product of fear. So I utilize the emotion of fear within my work.

W: When we talk about reference, are there any local or international influences within your work about horror?

I like to read international novels, such as Stephen King, but only as a comparison; who they are, their strengths and weaknesses etc. They all have weaknesses but I pay attention more to their strengths. But I tend not to be too influenced by their work. I was brought up by a traditional culture and I have an Indonesian philosophy, so I tend to be independent when it comes to influences.

W: In your opinion, is fear a culture?

Fear is a human sense. What I mean by culture are the events and legends, for example, in Western Java there is the Kuntilanak, in Bali there’s the Leak, and in Sumatra there is so on.That’s the culture, fear is the psychological product.