VISIT JAKARTA

The sprawling metropolis of Jakarta first started its life as the trading port of Sunda Kelapa and a centre for the pepper trade, and later under the Dutch occupation became known asBatavia. Jakarta is the largest city in Indonesia with a metropolitan population of more than 23 million people and is the eleventh largest city in the world. Actually, the entire area of the metropolis is known with the acronym ofJabodetabek and comprises Jakarta city, Bogor, Depok, Tangerang and Bekasi. If you look at a map of Java you will see that Jakarta is located on the north-western coast of the island at the mouth of the Ciliwung River on Jakarta Baywith this river being the most important as it divides the western and eastern sections of the city. Jakarta has the honor of special status as the capital of Indonesia or Daerah Istemewa Jakarta. In the Bay of Jakarta is located Pulau Seribuor Thousand Islands group and is a tourist destination providing excellent diving and white sandy beaches albeit an expensive place to holiday. The capital is divided five sections (Central, West, South, East and North Jakarta) and four outlying suburban areas of Tangerang, Bogor, Depok and Bekasi. Jakartans have a unique language indigenous to the city known as Betawi.

Attractions

Jakarta has some of the finest museums and galleries in Indonesia scattered around the city. Quite a few are within walking distance of each other and the entry fees are quite minimal. The city is also steeped in history from its very beginning to the Dutch occupation and present day. There are numerous historical sites worth visiting and my favourite being Sunda Kelapa with its old warehouses dating back from the Dutch East India Company. There is an excellent museum guide and can be bought at most bookshops.

Transportation

There are numerous ways to get around Jakarta even by car but of that I would not recommend as the traffic is horrendous and the traffic jams deplorable. Not only that, Jakarta is a nightmare to navigate in with one-way streets and crazy freeways. Taxis are a good option but then again, you will still be travelling through the chaos that is Jakarta thoroughfares. There are a multitude of taxi companies and by far the best being Bluebird mainly because they use their meters!. Other taxi companies that run a close second to Bluebird are Cendrawasih, Morante and Pusaka Nuri taxis.

The train system is another option although it is a little bit left to be desired as there have been reports of crime and sexual harassment during the busy hours. There is a monorail system of sorts, but for general use of the train outside rush hours, it is good to get around the city and to the various tourist sites. Just use your common sense as far as security is concerned and this applies to all forms of public transport.

The Transjakarta Busway system is a functional and comfortable form of public transport but again, avoid the rush hours. The system is user-friendly with station announcements and an LED display inside the vehicles. The buses run from 5am to 10pm daily and transfers between lines are free.

For my money and the better way to get around is by using the Bajaj The crazy-looking and orang coloured scooters are in the form of tricycles that carry passengers in a small cabin at the rear. Since they can weave through Jakarta’s traffic jams, they are a great way to get around town albeit in a slow manner, hot and very bone-shaking. These scooters are a set price for short hops around town and for Rp6,000 you really can’t complain about that. Ojeks are another form of transport that can zip around the city in ease. Ojek services are guys with bikes who will usually take you short distances down alleys and roads. Agree on the fare before you set off.

The latest addition to solve Jakarta’s traffic mayhem has been the introduction water taxis. This service is good and uses canals as a medium for public transportation. They are managed by the Transjakarta Busway system and so linking into them from a train or bus is ideal way to mix your transportation around town.

Then there is my favourite way of getting around the city and one that won’t cost you money and that is by walking. Some people would say that walking around the centre of Jakarta is not recommended, but in general, I have found it quite safe. But, muggings do happen in Jakarta and on a frequent basis in the poorer areas and so, as I mentioned before, use common sense when walking around. So be aware when using overhead bridges, even in the daytime.

Accommodation

There is a plethora of accommodation in Jakarta to suit any budget, and in fact, there really is an over supply of places to stay so you will never be caught out not finding a place to plonk your head. A majority of budget travellers head toJalan Jaksa. It seems to be a mecca for them. The best of the mid-range and upper-priced hotels are located near or in the city centre.

Eating in Jakarta

For some unknown reason it appears to more expensive to eat in Jakarta than anywhere else in the archipelago. Might seem stupid but that’s the way it is. There are an enormous amount of restaurants and warungs that serve foods not only from around Java but also from the archipelago. Be sure to try the Jakarta cuisine for its unique tastes. There are also plenty of night markets scattered around the city.

Tourist Information

Jakarta City Government Tourism Office,

Jl. Kuningan Barat No. 2,

Tel. +62-21-5205455

Email: info@jakarta-tourism.go.id

Emergency Numbers

Ambulance: 118.

Police: 110.

Search and rescue team: 115.

Indonesian Police HQ:

Jl. Trunojoyo 3, South Jakarta.

Tel.: (62)(21) 7218144.

Jakarta Police HQ:

Jl. Jendral Sudirman No. 45,

South Jakarta.

Tel.: (62)(21) 5709261.

Photo Credit: www.proairticket.com

http://www.indonesialogue.com/jakarta

The State of the Physical and Social Science

The development of science and technology has formed part of Indonesia's five-year plans and is directed toward both basic science and applied technology, with emphasis on the latter. Health, agriculture and animal husbandry, defense, physical sciences, and applied technology have had priority. The Indonesian Institute of Sciences has its headquarters and main library in Jakarta. Its task is to oversee and encourage research in diverse fields, to coordinate between institutions, and to advise on national science and technology policy. It also approves research by foreign scholars. Indonesia's major scientific research training centers are the Technological Institute, in Bandung, and the Agricultural Institute, in Bogor, founded in the colonial period, which draw top secondary school graduates.
Among social sciences, economics has received the greatest attention since the 1950s when the Ford Foundation launched a major program to train economists abroad. These so-called technocrats rose to great importance during the early decades of the New Order and molded economic policy throughout the country's growth period, from the 1970s through the 1990s. Social sciences are included in the national mandate largely as they contribute to supporting development activities. Fields such as political science and sociology received far less attention during the New Order, owing to their potential for, and actual involvement in, social and political criticism.


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Etiquette

When riding a Jakarta bus, struggling in post-office crowds, or getting into a football match, one may think that Indonesians have only a push-and-shove etiquette. And in a pedicab or the market, bargaining always delays action. Children may repeatedly shout "Belanda, Belanda" (white Westerner) at a European, or youths shout, "Hey, Mister." In some places a young woman walking or biking alone is subject to harassment by young males. But public behavior contrasts sharply with private etiquette. In an Indonesian home, one joins in quiet speech and enjoys humorous banter and frequent laughs. People sit properly with feet on the floor and uncrossed legs while guests, men, and elders are given the best seating and deference. Strong emotions and rapid or abrupt movements of face, arms, or body are avoided before guests. Drinks and snacks must be served, but not immediately, and when served, guests must wait to be invited to drink. Patience is rewarded, displays of greed are avoided, and one may be offered a sumptuous meal by a host who asks pardon for its inadequacy.

Whether serving tea to guests, passing money after bargaining in the marketplace, or paying a clerk for stamps at the post office, only the right hand is used to give or receive, following Muslim custom. (The left hand is reserved for toilet functions.) Guests are served with a slight bow, and elders are passed by juniors with a bow. Handshakes are appropriate between men, but with a soft touch (and between Muslims with the hand then lightly touching the heart). Until one has a truly intimate relationship with another, negative feelings such as jealousy, envy, sadness, and anger should be hidden from that person. Confrontations should be met with smiles and quiet demeanor, and direct eye contact should be avoided, especially with social superiors. Punctuality is not prized— Indonesians speak of "rubber time"—and can be considered impolite. Good guidebooks warn, however, that Indonesians may expect Westerners to be on time! In public, opposite sexes are rarely seen holding hands (except perhaps in a Jakarta mall), while male or female friends of the same sex do hold hands.
Neatness in grooming is prized, whether on a crowded hot bus or at a festival. Civil servants wear neat uniforms to work, as do schoolchildren and teachers.
The Javanese emphasize the distinction between refined ( halus ) and crude ( kasar ) behavior, and young children who have not yet learned refined behavior in speech, demeanor, attitude, and general behavior are considered "not yet Javanese." This distinction may be extended to other peoples whose culturally correct behavior is not deemed appropriate by the Javanese. The Batak, for example, may be considered crude because they generally value directness in speech and demeanor and can be argumentative in interpersonal relationships. And a Batak man's wife is deemed to be a wife to his male siblings (though not in a sexual way), which a Javanese wife might not accept. Bugis do not respect persons who smile and withdraw in the face of challenges, as the Javanese tend to do; they respect those who defend their honor even violently, especially the honor of their women. Thus conflict between the Javanese and others over issues of etiquette and behavior is possible. A Javanese wife of a Batak man may not react kindly to his visiting brother expecting to be served and to have his laundry done without thanks; a young Javanese may smile and greet politely a young Bugis girl, which can draw the ire (and perhaps knife) of her brother or cousin; a Batak civil servant may dress down his Javanese subordinate publicly (in which case both the Batak and the Javanese lose face in the eyes of the Javanese). Batak who migrate to cities in Java organize evening lessons to instruct newcomers in proper behavior with the majority Javanese and Sundanese with whom they will live and work. Potential for interethnic conflict has increased over the past decades as more people from Java are transmigrated to outer islands, and more people from the outer islands move to Java.


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The Arts and Humanities

Batik

Support for the Arts.
In the past in Java and Bali, royal courts or rich persons were major patrons of the arts. They continue their support, but other institutions joined them. The Dutch founded the Batavia Society for the Arts and Sciences in 1778, which established the National Museum that continues to display artifacts of the national culture. The Dutch-founded National Archive seeks to preserve the literary heritage, despite poor funding and the hazards of tropical weather and insects. Over the past several decades, regional cultural museums were built using national and provincial government funding and some foreign aid. Preservation of art and craft traditions and objects, such as house architecture, batik and tie-dye weaving, wood carving, silver and gold working, statuary, puppets, and basketry, are under threat from the international arts and crafts market, local demands for cash, and changing indigenous values.
A college for art teachers, founded in 1947, was incorporated in 1951 into the Technological Institute of Bandung; an Academy of Fine Arts was established in Yogyakarta in 1950; and the Jakarta Institute of Art Education was begun in 1968. Academies have since been founded elsewhere; the arts are part of various universities and teacher training institutes; and private schools for music and dance have been founded. Private galleries for painters and batik designers are legion in Yogyakarta and Jakarta. Academies and institutes maintain traditional arts as well as develop newer forms of theater, music, and dance.
Literature. Indonesia's literary legacy includes centuries-old palm, bamboo, and other fiber manuscripts from several literate peoples, such as the Malay, Javanese, Balinese, Buginese, Rejang, and Batak. The fourteenth century Nagarakrtagama is a lengthy poem praising King Hayam Wuruk and describing the life and social structure of his kingdom, Majapahit. The I La Galigo of the Bugis, which traces the adventures of their culture hero, Sawerigading, is one of the world's longest epic poems.
In colonial times some literature was published in regional languages, the most being in Javanese, but this was stopped after Indonesian independence. The earliest official publishing house for Indonesian literature is Balai Pustaka, founded in Batavia in 1917. National culture was expressed and, in some ways formed, through spoken Malay-Indonesian (understood by many people) and newspapers, pamphlets, poetry, novels, and short stories for those who could read. By the time of independence, literary production was not great, but it has grown considerably since the 1950s. The literary tradition is now rich, but one should note that reading for pleasure or enlightenment is not yet part of the culture of average urban Indonesians and plays little if any part in the life of village people. Indonesia has made literacy and widespread elementary education a major effort of the nation, but in many rural parts of the country functional literacy is limited. For students to own many books is not common; universities are still oriented toward lecture notes rather than student reading; and libraries are poorly stocked.
In the conflict between left-and right-wing politics of the 1950s and early 1960s, organizations of authors were drawn into the fray. In the anticommunist purges of the late 1960s, some writers who had participated in left-wing organizations were imprisoned. The most famous is Pramoedya Ananta Toer, a nationalist who had also been imprisoned by the Dutch from 1947 to 1949. He composed books as stories told to fellow prisoners in exile on the island of Buru from 1965 to 1979. He was released from Buru and settled in Jakarta, but remained under city arrest. Four of his novels, the Buru Quartet , published between 1980 and 1988 in Indonesian, are rich documentaries of life in turn-of-the-century colonial Java. They were banned in Indonesia during the New Order. Pram (as he is commonly known, rhyming with Tom) received a PEN Freedom-to-Write Award in 1988 and a Magsaysay Award in 1995. In English translation, the Buru Quartet received critical acclaim, and after the end of the New Order in 1999, Pram made a tour of the United States. He is the only Indonesian novelist to have received such acclaim overseas.

Bali Painting

Graphic Arts.
Stone sculptures of the elaborate Hindu variety in Java or the ornate sarcophagi of Sumatra are archaeological remains of value, but only in Bali is elaborate stone carving still done (apart from that which may decorate some upscale Jakarta homes or public buildings). Wood carving is more common. The cottage carving industry of Bali finds a wide domestic and international market for its statues of people, deities, and animals, many of which are finely artistic, some hackneyed. Perhaps the most common carving is in the urban furniture industry, mainly in Java, where ornately carved sofas and chairs are very popular. Traditional puppet or animal carvings of the mountain Batak of Sumatra or the upriver Dayak of Kalimantan are now mainly for tourists, though they once showed rich artistry (now largely seen in museums). The Toraja homes are still elaborately carved, and small examples of these carvings are sold to tourists. Toraja carve decorations on large bamboo tubes used for carrying palm wine or rice, and people in eastern Indonesia decorate small bamboo tubes that carry lime used in betel chewing. Among contemporary urban artists, painting on canvas or making batik is much more common than making sculpture.
Indonesian textiles are becoming more widely known overseas. Batik is the Javanese word for "dot" or "stipple"; ikat, a Malay-Indonesian word for "to tie," is a type of cloth that is tie-dyed before weaving. Batik textiles were made in royal courts and cottages, but also became a major commercial industry in Java and Bali, an industry that has experienced economic vicissitudes over the decades. Batik cloth varies enormously in artistry, elaboration, quality, and cost. Formal occasions require that Javanese, Sundanese and Balinese women wear whole cloths wrapped ornately to form a skirt. Men nowadays do so only at their marriage (or if they are in royal courts or are performers in gamelan, dance, or theater). Long-sleeved batik shirts are now accepted formal social wear for men of all ethnic backgrounds, though formal wear for men also includes civil service uniforms, shirts and ties, or Western suits.

Reog Ponorogo

Performance Arts.
Performance arts are diverse and include: Javanese and Balinese gong-chime orchestras (gamelan) and shadow plays ( wayang ), Sundanese bamboo orchestras ( angklung ), Muslim orchestral music at family events or Muslim holiday celebrations, trance dances ( reog ) from east Java, the dramatic barong dance or the monkey dances for tourists on Bali, Batak puppet dances, horse puppet dances of south Sumatra, Rotinese singers with lontar leaf mandolins, and the dances for ritual and life-cycle events performed by Indonesia's many outer island ethnic groups. All such arts use indigenously produced costumes and musical instruments, of which the Balinese barong costumes and the metalworking of the gamelan orchestra are the most complex. Best known in Indonesia is the Javanese and Balinese shadow puppet theater based on the Ramayana epic, with its brilliant puppeteers ( dalang ) who may manipulate over a hundred puppets in all-night oral performances accompanied by a gamelan orchestra. Bali is best known for the diversity of its performance arts. Despite the fact that Bali draws visitors from around the world, and its troupes perform overseas, most Balinese performers are villagers for whom art complements farming.
Contemporary (and partly Western-influenced) theater, dance, and music are most lively in Jakarta and Yogyakarta, but less common elsewhere. Jakarta's Taman Ismail Marzuki, a national center for the arts, has four theaters, a dance studio, an exhibition hall, small studios, and residences for administrators. Contemporary theater (and sometimes traditional theater as well) has a history of political activism, carrying messages about political figures and events that might not circulate in public. During the New Order, poets and playwrights had works banned, among them W. S. Rendra whose plays were not allowed in Jakarta. There is a long Javanese tradition of the poet as a "voice on the wind," a critic of authority.


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