COMMON ROOM
COMMON ROOM
Urban Cartography V.0.1/Bandung Creative Communities 1995-2005 [English]
Presented during the seminar "Artepolis: Creative Culture & The Making of Place", 21-23 July 2006 in Bandung- Indonesia. Organized by Department of Architecture, School of Architecture, Planning and Policy Development, Institute of Technology Bandung.
Research Project by Common Room Networks Foundation
Research Team : Gustaff H. Iskandar, R.E. Hartanto & Tarlen Handayani
Editor : Tarlen Handayani
Translation : Gustaff H. Iskandar, R.E. Hartanto & Reina Wulansari
PROJECT BACKGROUND
This project is an effort to build a small map that can be used to trace the existence of various creative communities growing in Bandung. At least since 1994 -1995 periods, the emergence of some youth communities that produce their daily needs independently in the local basis, can be said to mark a new phase of urban culture development in Bandung. This is at least also influenced by the development of DIY (Do It Yourself) ethics that at the time was the rage among the punk and skateboard communities, such as some of the youth communities that was used to hang out at some particular places in Bandung, like TL Skate Park (Taman Lalu Lintas), Reverse (Sukasenang Area), PI (Around the backside of BIP), Harder (Cihampelas Street), Riotic (Simpang Dago), etc.
Early local DIY products in Bandung started to appear in around 1994-1995 periods. This process was also influenced by the economic crisis that was happened in year 1996-1998, which triggered some youth communities to produce their own needs because of sudden jump on prices of the imported goods that they used to consume. Besides music production, small scale clothing industries & books, some of the communities that exist also produce and spread information in large quantity using various medium, from website, zines, posters, video, stickers, pins, magazines, etc.; which almost all are made by using skills in technologies instrument_from the simple to the latest_such as silk screen printers, digital printers, photocopy machine, radio networks, internet network, sms, self-built computers (that using pirated software), etc. More or less, DIY ethics in Bandung are also being introduced by the development of ISP business, which was started in 1995.
Using self-participatory research method, this project was initiated by Common Room Networks as a result of 10 years observation on the development of creative communities in Bandung. While including artist, this research were also participated by individual & local youth communities that have been very active in Bandung creative scene in the past 10 years. Some part of research material from this project has been exhibited at CP Biennale 2005. [1]
URBAN CARTOGRAPHY PERSPECTIVE/ BANDUNG CREATIVE COMMUNITIES
This particular project were being developed under the following conceptual frameworks & hypothesis:
1. Migration, Mobility & Urban Diaspora
Certain individual/ communities in the city of Bandung were experiencing the detachment process from their respective origins/ place. Perhaps this process also appears in the form of confrontation with new territories, new habit & tradition; including the process of adaptation with the new situation in the city.
2. New Technology & Construction/ Deconstruction of Identity
Mobility & adaptation process stimulates the construction/ deconstruction of identity. Recent generation in Bandung (post-1990 generation), are being detached with the "old" ideology and absorb the influence that rise within the development of new technology & global capitalism, which later on creates new way of communication/ individual expression in their personal/ social life.
3. Politics of Surveillance: Power & Control in Urban Territories
How various elements in urban society of Bandung were working as representation of power with a particular economic/ political interest? Urban surroundings in Bandung allow every single individual takes control & see each other as their counterparts. This premises aims to discover the relation between micro/ macro political gestures with everyday life situation in Bandung as an "Urban Village".
4. Terrorism & Urbanity
This notion examines various forms of fear and its multiplication trough media/ public space in the city of Bandung. How people deal with crisis, uncertain economic/ political situation, fear & various form of terror in Bandung?
5. Connectivity & Various Form of Displacement/Alienation
New technology allows us to discover new way to communicate with each other, including the new way in understanding the "other". This new connectivity shapes our daily urban surrounding, but in the same time also creates tension in the form of displacement & alienation (e.g. economic/ political gap, identity crisis, culture shock, paranoia, etc.).
6. Land Use Issue: Public Domain vs. Private Interest
Conflicts of interest in land use issues that confront stakeholders of the city: local government, private sector & city inhabitant. Case study: Babakan Siliwangi City Park.
7. Urban Narratives
The need to creates new stories & myth in order to "re-creates" the identity in Bandung urban terrain
HISTORICAL LANDMARKS
Colonial Periods
Tracing roots of development in Bandung urban culture, we cannot disregard some important historical fact on how this city was built. Governor General J.B van Heutz stated Bandung as an open city in 21st February 1906, a hundred years after General Maarschalk H.W. Daendels order to build the City of Bandung in 1809. On statistic report, which was released by Gemeente Bandoeng in 1st January 1921, the number of European inhabitant in Bandung during that time was 10.658 populations. Perhaps this particular fact also made Bandung as a modern city, with "European" standard of living. In education field, the developments on modern educational infrastructure were also quite significant. From some notes made by Haryoto Kunto, at least there are 4 government school in Bandung was build since 1823. Some of these particular institutions are Bumi Putera elementary school at Karang Pamulang (near by Kebon Kalapa terminal), a Frobelschool (Kindergarden), Elementary school for European student and polytechnic school (Ambachtschool). Besides that, there are also other schools e.g. School for Teacher (Kweekschool), M.U.L.O School, H.B.S, Technische Hoogeschool (currently known as ITB_Institute Technology of Bandung), etc. Besides the impact of ethical politics policy, which was implemented by the Dutch colonial government, the appearance of modern educational institution in Bandung was also influenced by the rise of necessities for local educated workers, which once belongs to Europeans who travel to Indonesia [2] . The existence of education facilities practically influences the city's academic life. No wonder that the City of Bandung also known as "het intellectueele centrum van Nederlandsch-Indie" (the center for academic activities in Nusantara) [3] .
Private sector entrepreneurs (known as Preanger Planters), with their financial capital & life style also has some important influence in building the modern infrastructure that can support their daily activities in Bandung. During the colonial period, a number of commercial building in the form of cafe, bakery shop, hotel, bar & restaurant were already existed, besides racetrack, football stadium, concert hall & cinema. Up until 1932, Bandung was recognized as the center for tourism in Nusantara [4] . Annual trade show (also known as Jaarbeurs) in Bandung was becomes a regular program that exhibited agriculture & industrial product from the whole area of Nusantara. Some major international trading companies also supported this particular activity, which usually accompanied by cultural festival that was participated by international artists. In 1930, Jarbeers are able to attract 165.178 visitors, ranging from European, Chinese & local guest. As comparison, in 1930 the local city inhabitants of Bandung were 156.889 populations. During that period, Bandung was considered as a perfect place to develop a center for European colony in Nusantara.
Pre and Post Revolutionary Periods (Independence Movement)
Radical change in colonial politic constellation and the power switch from "Align Forces" to Japanese occupation, which leads into Indonesian independence movement; drastically change the life of the people in Bandung in the 1940's. The search of the new character in the city life then continue in the 1950's during the Asia-Africa Conference in 1955, which became an important momentum that marks the starting point to develop new character of the city in post-revolutionary period, with an explicit remarks to open Bandung from foreign influence. This particular conference, which was organized in 18th-24th April 1955, also encourage the Indonesian government to support some public figures, forming an ad hoc board for developing new universities in Bandung. In 20 October 1954 Perguruan Tinggi Pendidikan Guru (PTPG) was established, which later on became Universitas Pendidikan Indonesia (UPI- Indonesia University for Education). Again in 14th August 1956, Universitas Negeri ad hoc team was formed to develop new universities in Bandung, which today were known as University of Padjadjaran (UNPAD).
1960
The existence of Kus Bros music group (also known as Koes Plus) in early 1960 marks the birth of first Indonesian pop generation. During this time, existing life style not only being influenced by massive change in political life, but also affected by social and economic situation, as well as foreign influence trough Western European & American pop music industries. Almost in the same period, dangdut music was also being developed and most of its player was playing in the group format and known as "Orkes Melayu". Political transition from old to new order regime in 1965 influences the birth of new generation known as "Angkatan 66" (Generation '66), which are holds an important position during the transition period. Most of them were come from universities, which were already existed in Bandung. Some of this new generation also initiated the birth of amateur radio station, which also becomes a model for private radio station in Bandung. For example, Radio Mara started to operate in 1968. These radio stations were also well known for its critical voice in accommodating the aspiration of the people, besides playing pop & dangdut music.
1970
In the 70's the development of life style in Bandung was effected by the significance "Aktuil" Magazine, which had first issue on the 8th June 1967. Deni Sabri, the eldest of Sabri Gandanegara who was a vice governor of West Java in the period of 1966 -1974, was the founder of this magazine. It was named after a magazine that was issued in the Netherlands, "Actueel".[5] The period of 1970-1975 was the momentous of Aktuil when it became the essential reading for the youngster in Indonesia. Moreover, after the artist Remy Sylado enhanced the experiment of Mbeling poetry in the form of serial article named "Orexas", pointed that Aktuil is the youth magazine, which has a subversive spirits. The Orexas was not refered to a god or a hero in Greek Mythology; it was the acronym of Free Sex Organization. The Mbeling poetry was meant to oppose the rules in formal language, which then it became the symbol of resistance to the guideline of formal language (EYD); the formal guideline that are being introduced by the Indonesian government in 1972. Generally speaking, one has not yet a youngster when one has not read Aktuil magazine, and this was not exaggerated. Moreover it was considered as a bible, particularly by the rock mania that was a big hit in the 70's. The fame of Aktuil was falling in the end of the 70's, surprisingly after they had successfully invited the rock group music Deep Purple in 1976. And since 1978, in most universities in Indonesia was applied the "Normalization in Campus Life Policy" (known as NKK-BKK). Enin Supriyanto refers this regulation as a government control to the academic and social life.[6]
1980
During this period, military power holds control in government policies. Started with "ABRI Masuk Desa" policy (Army Goes to Village Policy), the military control in people's daily lives are becomes more dominant. What happens among the 70's generations are becomes impossible in the 80's. Any kind of act that are being consider as insulting or confronted the government policies were regarded as violating the laws (UU No. 11/PPs/1983), known as Subversive Laws. During this period, most of the life style are switching into the "save" mode to avoid subversive act. Perhaps this also encourages the development of motor gank and hobby club. Black Angel and The Motor are two-respected motor gank in the 80's, which later on also influence the birth of Biker's Brotherhood in the 90's.[7] Automotive club during this period often takes part in bazaar & festivals, and give an important influence in the street culture development in Bandung. Various event organizers that are very active in organizing automotive show in Bandung are being born (such as KELPIE). In the mid 80's, a small skate park in Taman Lalu Lintas (Taman Ade Irma Suryani) brought the existing of skateboard communities, which also influence the birth of BMX, Hardcore & Punk communities, which are popular in early 1990. Trough this youth communities, the DIY ethics (Do It Yourself) are being introduced as ideas that encourages individual participation in forming a counter cultural act. RCTI, the first private TV broadcast station are began to operate in 1989, and marks the end of TVRI domination (National Television) as the only TV station in Indonesia.
1990
In the 90's, global stream and foreign investment are actively penetrates Indonesian social & economic spheres. The development of life style & urban culture in Bandung were heavily influenced by some particular situation in social, politic & macro economic sector. To understand the new tendency in the 1990's, perhaps we can consider these two major phases:
1. First Phase, Before Economic Crisis (1990-1997)
Global trends, inseparable with the globalization process and the development of new technology are becomes a massive influence in the development of life style and urban culture in Bandung during the 90's. Reverse, a small music studio in Sukasenang area could be regarded as an important example. This place also becomes an important seeds that stimulate the development of Bandung youth communities in the 90's. In its early development, Richard, Helvi & Dxxxt (former Reverse initiator), not only use Reverse studio as rehearsing studio for various bands (mostly plays rock music), but also as a hang out place and small outfit company. In the beginning, they only sells specific product for rock music and skateboard fans. It can be said that Reverse becomes the first nodes of youth community development and youth subculture at that times. Later on, Reverse also became a distro, selling CD, audiocassette, poster, artwork, and accessories, including the other imported & local stuff.[8] In 1994, some youngster that used to hang out in this place was publishing "Swirl", youth magazine that covers the activity of music & skateboard scene in Bandung.
In 1992, GMR radio in Bandung is the only radio station in Indonesia that broadcasted demo tape from new bands in this city. Troughs the talented hands of the late Samuel Marudut, this radio station also influence the development in the Bandung music scene during that period. Besides triggering the development of music communities in Bandung, GMR also promoting some rock bands from other cities like Jakarta & Surabaya.
Almost in the same periods of time, the APEC leaders meeting in Bogor (1994) declares the free trade agreement, which are projected to start in 2002. In the same year, Internet Service Provider business (ISP) starts to develop in Jakarta. Until 1995, Bandung was one of the third cities with larger Internet user in Indonesia. At least there are 10.000 Internet users in Jakarta, 1000 in Bandung and 3000 users in Surabaya. Political situation during this period was accompanied by the riot in East Timor and the banned of three major Indonesian media by the government: Tempo, Detik and Editor. In Bandung, the resistance movement against censorship from the government was represented in the underground media publishing, such as FOWI and INDEPENDEN.
During this period, hobby club and communities are moving into more political tendency. Alternative discourse and independent spirit are becomes the buzzwords among the youngster. The birth of Partai Rakyat Demokratik in 1996 (Democratic People Party) also influences the ideology of punk and hardcore communities in Bandung. Most of these communities started to distribute information in the xeroxed magazine as an alternative media. Known as Zine, this alternative media were holds a strong influence among youth communities in Bandung during that time. Submissive and Tigabelas was some of the examples.
The development in the music scene also stimulates the birth of independent record labels, which was developing an alternative distribution channel trough the using of Internet as their media and promotion tools. Started from the mid 90's, Richard Mutter, former drum player from Pass Band stated that he got some order from Japanese underground music fans from the internet when he releasing music under 40124 Records. From this label, he also releasing a legendary compilation album called "masaindahbangetsekalipisan" in 1996, which contain songs from underground band such as Full of Hate, Rotten to the Core, Sendal Jepit, Cherry Bombshell, Puppen, Balcony, etc. The underground networks were become well developed in 1997. During this year, Tian An Men 89 Records, a French record label company releasing a hardcore compilation with the title "Injak Balik! A Bandung HC/Punk Comp." This compilation supported by a number of Bandung bands such as Puppen, Closeminded, Savor of Filth, Deadly Ground, Piece of Cake, Runtah, Jeruji, Turtles Jr., and All Stupid. Most of the subject matters from the music of this album consisted of various political statements conveyed straightly by the bands involved in the project.[9]
Indiepop music movement started to appear in Bandung when Pure Saturday releasing their first album independently in 1996 (Pure Saturday, Baccott Management, 1996). This movement stimulates domino effect within the rise of bands who playing pop music in various form and format. There are about 75 bands in Bandung and Jakarta who plays this particular style of pop music during that time. Besides indiepop music, hardcore music scenes were also being developed in more massive form during the same periods. A festival called "Bandung Berisik" becomes an important remark amongst the hardcore music fanatics. Starting from a small music event, this festival becomes a stadium show scale with 10.000 audiences. Major Cigarette Company and local government in Bandung even sponsored this particular show.[10] The movements were also being supported by the appearance of independent media such as Revogram, Morbid Noise, and Brainwashed, which also documenting the development of this particular youth scene. Most of this independent media use a simple technique of reproduction and distribution by using xerography machine. More advance medium was presented by later generation of youth publishing company like Ripple Magazine (1999-present) and Trolley Magazine (2000- 2002).
Besides the influence of global capitalism in the form of multi-corporation product & media such as McDonald and MTV, the polarized youth politics/ ideology in Bandung urban culture & life style also being developed under political repression, mixed with globalize information flow that bring in the western life style propaganda. This creates multi-layered character among youth communities in Bandung, which was known for its DIY spirit & independency. Perhaps this also stimulates further developments for creative communities in Bandung, especially during the time of economic crisis and uncertain socio-political situation.
2. Second Phase: After Economic Crisis (1997-2000)
Economic crisis in Indonesia has a significant impact among youth communities in Bandung. During this period, the DIY spirits appears in the more concrete form. It transforms the political & economic gestures among youth communities, from loyal imported stuff consumer into a creative producer. A lot of youth communities in Bandung started to produce their own daily needs independently, and supporting local economic empowerment among community member. Some of them are started to establish clothing company, independent records label, produce & distributing media, and so on. 347/eat (1996), Riotic (1996), Airplane (1997), Monik (1997), Ouval Research (1997), No Label (1997), Harder (1998), Anonim (1999), FastForward Records (1999), Ripple Magazine (1999) and many more are among the first generation of creative communities that marks the landscape of Bandung creative scene today. Most of these communities produces & distributes local made products, inseparable with particular design style and trend, which directly influenced by global trends. The development of information technology, which connected the "local" with the globalize worlds, triggering the further development & creating the new identity of Bandung creative scene. Not only consuming the "foreign" life style, within its particular representation trough ideology and identity of the "other", but also deconstruct the information flow into a new form of local product, which later on absorbed by local market. This in return creates the new trends of life style, with a unique form & character in Bandung urban terrain.
2000 - present
During the early steps of new millennium, the Indonesian economic situation slowly became more stable. Local made products, which was produced by Bandung creative communities started to gain significant economic values. This was shown by the contribution of relatively huge financial investment in the DIY spirit business unit. Some clothing company are being able to open their own store, absorb 60 employee, open distribution channel in other cities, or even supporting local cultural events such as music concert and art exhibition. The emergence of initiatives spaces also became an important remark on the development of Bandung creative scene. Since year 2000, early dynamics of the existed initiative spaces has a strong influence on the activities of Bandung creative communities. Some of these spaces are come and go, appears in permanent/ semi permanent space such as Barak Gallery (RIP), Trimatra Center (RIP), If Venue (RIP), BTW SPACE (still in operation), Common Room (still in operation), ROOMNOONE (still in operation), Ujung Berung Rebel (still in operation), Rumah Musik Harry Roesly (still in operation), and so on. This particular places, were born from individual/ collective initiatives to accommodate aesthetic aspiration, which are considered as the "other" by established space/ institution.
Besides the rise of new initiatives spaces, the development of literature communities in Bandung also marks a significant tendency. In 2nd May 2001, Pasar Buku Bandung (Bandung Book Market) was established. Later on, in 2002 Pasar Buku Bandung was changing their names into Toko Buku Kecil (known as "Tobucil", a small bookshop). Using the space at Trimatra Center, which was originally established by communities of architect and projected into a space for collective activities, Tobucil started to adapt the concept of independency with cross subsidies approach, which mix the business (selling books) and community program. This bookshop also holds a mission on supporting local literacy movement, a credo that bears within the spirits of independent communities trough the everyday life perspective as their common platform. Some says that we can regarded Tobucil as part of post-modernist floats, were everyday life and micro components in our daily activities became the main source for understanding realities.[11] Trough the birth of Tobucil with its simple concept on literacy movement, which was easily accommodated by the public needs, the rise of "alternative bookshop" was became a new stage of development for literature communities in Bandung. From the database, which is being developed by Tobucil trough the Peta Buku Bandung Project (Bandung Book Map Project) in 2003, there are about 50 places that adapted the concept of local literacy movement in Bandung.
In the early 2000, the publishing of Trolley Magazine (2000-2002) distorted the establishing perspective & current trends in the youth magazines that existed during that period. Within its own way, this magazine also re-directed the perspective of younger generation in disseminating the current life style trough existing media. Even that the magazine are no longer exist, the style that applied in Trolley Magazine are becomes a patron for younger media publishing company in Bandung. Almost in the same periods, Boardrider Magazines (only publishing 4 editions), releasing a very specific aspiration from skateboard and surfing scene, not only from Bandung, but also from other cities in Indonesia. The emergences of young writer in Bandung are also an example that marks the important stages of development in Bandung literary scene. Dewi Lestari (known as Dee), releasing her novel entitled "Supernova", which are independently published, and distributed trough an alternative distribution channel. This novel can be considered as a booming since its became very popular an give a significant influence for literature in Indonesia.
Some important events during 2000-2005
Bandung Art Event (2001). An art activity formerly designed bi-annually, tried to combine the whole artistic elements in Bandung into one big programme. Although the programme was later abandoned, the event marked the awareness of combining many elements and art communities in Bandung, through their satellite programmes.
Dago Festival (2002-2004). Street festival that marks how commercial activity (through tobacco company) involved so many people and communities in Bandung.
Class of '95 (2005). An Indie-pop visual showcase dedicated to youth indie-pop culture grown in Bandung starting from 1995. During the period, a specific style applied to music scene, laboring new independent bands and labels, inseparable from developed graphic arts trends. The presentation of the project consist posters, photography, t-shirts, and memorabilias. In the opening day, live band performances attracted crowds from Bandung, Jakarta, Yogyakarta, and Bali, compressed in a tiny space.[12]
Initiation of Cipularang highway (2005), connecting Bandung and Jakarta. The most important impact is the shrunken distance between Jakarta and Bandung. It opens many opportunities for Jakartan to participate in creative communities' activities in Bandung, giving impacts of economy or benefits.
Bandung has some designated areas projected as commercial districs since the Dutch colonialization such as Asia Afrika Street and Braga Street. These areas are still functioning today as they were before. In the later development, in the early of 1980s, ruling major Ateng Wahyudi stated policy that transformed residencial area into commercial area in Cihampelas street, accommodating business interest. This area was later well known for jeans, as well as other wearable products, sold mainly to lower-class market and attracted significant number of buyer from Bandung and other places. Dago (officially: Ir.H. Juanda) Street experienced the same transformation in a bit later period. Existing residential area was grown into a floating "semi-commercial" zone, license were given to those who applied to develop business in the vicinity. Transformation of existing residential area into a touristic commercial area has increased greatly after 1998. The same thing happens to Riau (officially: L.L.R.E. Martadinata) Street. It is now crowded with factory outlet, cafe, and restaurant with more upper-class market to differentiate with business running at Cihampelas Street. Clothing shop boom started in 2002.
The shifting of land-use triggered even bigger commercialization. In most cases, inhabitants prefer to move out to quieter and cheaper-tax environment. Slowly, residencial areas turn completely to commercial area, without adequate policies that support sustainable economic aspect in its relation with wider city-planning context. As soon as Cipularang & Pasupati highway came into function, stream of domestic tourists, mostly from Jakarta, overflowing the new existing commercial areas and triggered supplementary business such as cafe, restaurants, hotels, advertisement media, etc. It later influenced Bandung creative communities. Lifestyle turned into commodity, supported by big capital interest. Clothing shop boom in 2002 and both local & national media exposures created snowball effect which later on employed creativity in it's relation with market demand, instead of DIY spirit and experimentation.
Desaturation of Ideology
Changes in macro geo-politic after the fall of the Soviet-Union in the early of 1990s affected Indonesia ten years later. During his presidency Abdurrahman Wahid invited former PKI exiles to return to Indonesia in 1999, and proposed removing restrictions on open discussion of the communist ideology. In arguing for the removal of the ban, Wahid cited Indonesia's original 1945 constitution, which did not prohibit or even specifically mention communism. Wahid's proposal was vigorously opposed by some sectors of Indonesia society, especially conservative Islamic groups [13] . Ideology, as an important and painted the colors of some creative communities transformed into business commodification. Icons of resistance such as Che Guevara, Lenin, Marx, etc. appeared in t-shirts and stickers, applied not to represent ideological vision but instead being a part of the lifestyle itself. It seems that this particular transformations were accepted by the market without any reserve (?).
Creative Communities and Their Puzzle
Initiative spaces have grown in Bandung since 1974 (Decenta Gallery), covering art & culture in normal definition. Knowing the fact that association/brotherhood/collective/gang/etc have always been existing in Bandung since long period, initiative spaces seem to be a extension of this natural character of Bandung people, to be together, to gather with others within the same interest, in order to survive. In this presentation, initiative spaces are identified as organizations facing issues of: space management, programme management, and have programme dissemination. These initiative spaces include: Decenta (1974-1984), SOS (1982-present), RedPoint (1993-present), Galeri Padi (1997-present?), Galeri Barak (1997-2001), Galeri Adira (1999-present), Galeri Fabriek (2002), Rumah Proses (2002-present?), Selasar Sunaryo Art Space (1998-present), Studio Pintu Merah (2005-present), BTW Art Space (2003-present?), Room no. 1 (2004-present?), Common Room (2003-present), Rumah Nusantara, Trimatra Centre, Jendela Ide (1995-present), Rumah Musik Harry Roesli (d/h Depot Kreasi Seni Bandung), etc. Literacy communities include: Tobucil, Rumah Buku, Omuniuum, Rumah Malka, Ultimus, Toko Buku Nalar, etc.
During the same period, communities inspired from "organic" activities such as daily experiences, discussions, and contact with certain information were formed into shape. Those organizations (mostly informal) or communities were used to channel artistic ideas, express identity/class related problem, state political aspiration or merely used as economic instruments. This form of communities include: VideoBabes, VideoLabs, Komunitas Malaikat, Abstrax, Gerbong Bawah Tanah, Rumah Grafis Cidamar, Studio Pohaci, Kopi Pait Society, Studio Jeihan, Cerahati & Biosampler, Pondok Kreasi, Ujung Berung Rebel/Homeless Crew, Riotic, Reverse, Harder, etc.
Along with the rest of formal institutions function in art-culture field, these creative communities have completed the creative class in Bandung. They contribute to the development of urban culture and voice their aspiration from various perspectives, but the fact that surviving communities are few in number shows that sustainability is a very serious issue. Puzzles of creative communities according to our records cover:
Internal handicaps
* Internal management of space & programmes
* Vision, mission & strategy
* Intuitive business development instead of researched one
External handicaps
* Blurred government policies toward creative industries as economic potential
* Tax mismanagement and intransparency
* Lack of clear policy that would rule the business of creative industries
* Lack of strategy to project creative industries as a sustainable economic development
* Lack of adequate infrastructure to support creative activities in Bandung
* Lack of land-use policy in its relation with city planning as a whole to nourish creative industries. Example: creative communities cannot afford increased price of land used by commercial business
Publication
Publication on creative activities in Bandung has so far done partially in forms of event reportage or product catalogue. Decent reviews or critics who intensely record and widely publicized in order to set a standard or milestone of creative activities in Bandung are close to inexistence.
Perception of Independency
Narrow perception of independency hold creative communities from co-operating with other institutions in order to help their sustainability. Independency that percept as a non-compromise attitude would give nothing but waste of human and financial resources because everything has to be done "independently". Independency should be seen as a process to develop a strong bargaining position with any institution through clear and fair negotiations. It is important to understand that this process would take time and patients.
Footnote:
[1] Museum Bank Indonesia, Jakarta -Indonesia, 5 September -5 October 2005. The biennale are being shut down after threated by FPI (Fronts for Islamic Defenders) for exhibiting works that shows nudity and insulting some particular Islamic group.
[2] W.F. Wertheim, Indonesian Society in Transition: the Changing Status System, page., 207. Social Inequality, edited by Andre Beteille (Penguin Education, 4th published, 1974)
[3] Haryoto Kunto, Semerbak Bunga di Bandung Raya, page., 828 - 831. (P.T Granesia Bandung, 1st published, 1986).
[4] Haryoto Kunto, ibid, page., 529.
[5] Info: http://id.wikipedia.org/wiki/Aktuil
[6] Enin Supriyanto, Against to Defeat, Resist the Repression of the New Regime Civilization (The affirmation in front of Bandung State Court to answer the claim of the State Authority, page 157, 10th February 1990).
[7] Interview with Tommy Dwijatmiko (Fuck You! We're From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com)
[8] Fuck You! We're From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com
[9] Fuck You! We're From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com
[10] Efek Domino Angkatan '95 (Gatra Magazine, 25 Maret 2005, page 82-83)
[11] Kompas Newspaper, Sunday, 19th May 2002, page 13.
[12] Link: http://commonroom.info/bcfnma/class95.html
[13] http://en.wikipedia.org/wiki/Communist_Party_of_Indonesia
Research Project by Common Room Networks Foundation
Research Team : Gustaff H. Iskandar, R.E. Hartanto & Tarlen Handayani
Editor : Tarlen Handayani
Translation : Gustaff H. Iskandar, R.E. Hartanto & Reina Wulansari
PROJECT BACKGROUND
This project is an effort to build a small map that can be used to trace the existence of various creative communities growing in Bandung. At least since 1994 -1995 periods, the emergence of some youth communities that produce their daily needs independently in the local basis, can be said to mark a new phase of urban culture development in Bandung. This is at least also influenced by the development of DIY (Do It Yourself) ethics that at the time was the rage among the punk and skateboard communities, such as some of the youth communities that was used to hang out at some particular places in Bandung, like TL Skate Park (Taman Lalu Lintas), Reverse (Sukasenang Area), PI (Around the backside of BIP), Harder (Cihampelas Street), Riotic (Simpang Dago), etc.
Early local DIY products in Bandung started to appear in around 1994-1995 periods. This process was also influenced by the economic crisis that was happened in year 1996-1998, which triggered some youth communities to produce their own needs because of sudden jump on prices of the imported goods that they used to consume. Besides music production, small scale clothing industries & books, some of the communities that exist also produce and spread information in large quantity using various medium, from website, zines, posters, video, stickers, pins, magazines, etc.; which almost all are made by using skills in technologies instrument_from the simple to the latest_such as silk screen printers, digital printers, photocopy machine, radio networks, internet network, sms, self-built computers (that using pirated software), etc. More or less, DIY ethics in Bandung are also being introduced by the development of ISP business, which was started in 1995.
Using self-participatory research method, this project was initiated by Common Room Networks as a result of 10 years observation on the development of creative communities in Bandung. While including artist, this research were also participated by individual & local youth communities that have been very active in Bandung creative scene in the past 10 years. Some part of research material from this project has been exhibited at CP Biennale 2005. [1]
URBAN CARTOGRAPHY PERSPECTIVE/ BANDUNG CREATIVE COMMUNITIES
This particular project were being developed under the following conceptual frameworks & hypothesis:
1. Migration, Mobility & Urban Diaspora
Certain individual/ communities in the city of Bandung were experiencing the detachment process from their respective origins/ place. Perhaps this process also appears in the form of confrontation with new territories, new habit & tradition; including the process of adaptation with the new situation in the city.
2. New Technology & Construction/ Deconstruction of Identity
Mobility & adaptation process stimulates the construction/ deconstruction of identity. Recent generation in Bandung (post-1990 generation), are being detached with the "old" ideology and absorb the influence that rise within the development of new technology & global capitalism, which later on creates new way of communication/ individual expression in their personal/ social life.
3. Politics of Surveillance: Power & Control in Urban Territories
How various elements in urban society of Bandung were working as representation of power with a particular economic/ political interest? Urban surroundings in Bandung allow every single individual takes control & see each other as their counterparts. This premises aims to discover the relation between micro/ macro political gestures with everyday life situation in Bandung as an "Urban Village".
4. Terrorism & Urbanity
This notion examines various forms of fear and its multiplication trough media/ public space in the city of Bandung. How people deal with crisis, uncertain economic/ political situation, fear & various form of terror in Bandung?
5. Connectivity & Various Form of Displacement/Alienation
New technology allows us to discover new way to communicate with each other, including the new way in understanding the "other". This new connectivity shapes our daily urban surrounding, but in the same time also creates tension in the form of displacement & alienation (e.g. economic/ political gap, identity crisis, culture shock, paranoia, etc.).
6. Land Use Issue: Public Domain vs. Private Interest
Conflicts of interest in land use issues that confront stakeholders of the city: local government, private sector & city inhabitant. Case study: Babakan Siliwangi City Park.
7. Urban Narratives
The need to creates new stories & myth in order to "re-creates" the identity in Bandung urban terrain
HISTORICAL LANDMARKS
Colonial Periods
Tracing roots of development in Bandung urban culture, we cannot disregard some important historical fact on how this city was built. Governor General J.B van Heutz stated Bandung as an open city in 21st February 1906, a hundred years after General Maarschalk H.W. Daendels order to build the City of Bandung in 1809. On statistic report, which was released by Gemeente Bandoeng in 1st January 1921, the number of European inhabitant in Bandung during that time was 10.658 populations. Perhaps this particular fact also made Bandung as a modern city, with "European" standard of living. In education field, the developments on modern educational infrastructure were also quite significant. From some notes made by Haryoto Kunto, at least there are 4 government school in Bandung was build since 1823. Some of these particular institutions are Bumi Putera elementary school at Karang Pamulang (near by Kebon Kalapa terminal), a Frobelschool (Kindergarden), Elementary school for European student and polytechnic school (Ambachtschool). Besides that, there are also other schools e.g. School for Teacher (Kweekschool), M.U.L.O School, H.B.S, Technische Hoogeschool (currently known as ITB_Institute Technology of Bandung), etc. Besides the impact of ethical politics policy, which was implemented by the Dutch colonial government, the appearance of modern educational institution in Bandung was also influenced by the rise of necessities for local educated workers, which once belongs to Europeans who travel to Indonesia [2] . The existence of education facilities practically influences the city's academic life. No wonder that the City of Bandung also known as "het intellectueele centrum van Nederlandsch-Indie" (the center for academic activities in Nusantara) [3] .
Private sector entrepreneurs (known as Preanger Planters), with their financial capital & life style also has some important influence in building the modern infrastructure that can support their daily activities in Bandung. During the colonial period, a number of commercial building in the form of cafe, bakery shop, hotel, bar & restaurant were already existed, besides racetrack, football stadium, concert hall & cinema. Up until 1932, Bandung was recognized as the center for tourism in Nusantara [4] . Annual trade show (also known as Jaarbeurs) in Bandung was becomes a regular program that exhibited agriculture & industrial product from the whole area of Nusantara. Some major international trading companies also supported this particular activity, which usually accompanied by cultural festival that was participated by international artists. In 1930, Jarbeers are able to attract 165.178 visitors, ranging from European, Chinese & local guest. As comparison, in 1930 the local city inhabitants of Bandung were 156.889 populations. During that period, Bandung was considered as a perfect place to develop a center for European colony in Nusantara.
Pre and Post Revolutionary Periods (Independence Movement)
Radical change in colonial politic constellation and the power switch from "Align Forces" to Japanese occupation, which leads into Indonesian independence movement; drastically change the life of the people in Bandung in the 1940's. The search of the new character in the city life then continue in the 1950's during the Asia-Africa Conference in 1955, which became an important momentum that marks the starting point to develop new character of the city in post-revolutionary period, with an explicit remarks to open Bandung from foreign influence. This particular conference, which was organized in 18th-24th April 1955, also encourage the Indonesian government to support some public figures, forming an ad hoc board for developing new universities in Bandung. In 20 October 1954 Perguruan Tinggi Pendidikan Guru (PTPG) was established, which later on became Universitas Pendidikan Indonesia (UPI- Indonesia University for Education). Again in 14th August 1956, Universitas Negeri ad hoc team was formed to develop new universities in Bandung, which today were known as University of Padjadjaran (UNPAD).
1960
The existence of Kus Bros music group (also known as Koes Plus) in early 1960 marks the birth of first Indonesian pop generation. During this time, existing life style not only being influenced by massive change in political life, but also affected by social and economic situation, as well as foreign influence trough Western European & American pop music industries. Almost in the same period, dangdut music was also being developed and most of its player was playing in the group format and known as "Orkes Melayu". Political transition from old to new order regime in 1965 influences the birth of new generation known as "Angkatan 66" (Generation '66), which are holds an important position during the transition period. Most of them were come from universities, which were already existed in Bandung. Some of this new generation also initiated the birth of amateur radio station, which also becomes a model for private radio station in Bandung. For example, Radio Mara started to operate in 1968. These radio stations were also well known for its critical voice in accommodating the aspiration of the people, besides playing pop & dangdut music.
1970
In the 70's the development of life style in Bandung was effected by the significance "Aktuil" Magazine, which had first issue on the 8th June 1967. Deni Sabri, the eldest of Sabri Gandanegara who was a vice governor of West Java in the period of 1966 -1974, was the founder of this magazine. It was named after a magazine that was issued in the Netherlands, "Actueel".[5] The period of 1970-1975 was the momentous of Aktuil when it became the essential reading for the youngster in Indonesia. Moreover, after the artist Remy Sylado enhanced the experiment of Mbeling poetry in the form of serial article named "Orexas", pointed that Aktuil is the youth magazine, which has a subversive spirits. The Orexas was not refered to a god or a hero in Greek Mythology; it was the acronym of Free Sex Organization. The Mbeling poetry was meant to oppose the rules in formal language, which then it became the symbol of resistance to the guideline of formal language (EYD); the formal guideline that are being introduced by the Indonesian government in 1972. Generally speaking, one has not yet a youngster when one has not read Aktuil magazine, and this was not exaggerated. Moreover it was considered as a bible, particularly by the rock mania that was a big hit in the 70's. The fame of Aktuil was falling in the end of the 70's, surprisingly after they had successfully invited the rock group music Deep Purple in 1976. And since 1978, in most universities in Indonesia was applied the "Normalization in Campus Life Policy" (known as NKK-BKK). Enin Supriyanto refers this regulation as a government control to the academic and social life.[6]
1980
During this period, military power holds control in government policies. Started with "ABRI Masuk Desa" policy (Army Goes to Village Policy), the military control in people's daily lives are becomes more dominant. What happens among the 70's generations are becomes impossible in the 80's. Any kind of act that are being consider as insulting or confronted the government policies were regarded as violating the laws (UU No. 11/PPs/1983), known as Subversive Laws. During this period, most of the life style are switching into the "save" mode to avoid subversive act. Perhaps this also encourages the development of motor gank and hobby club. Black Angel and The Motor are two-respected motor gank in the 80's, which later on also influence the birth of Biker's Brotherhood in the 90's.[7] Automotive club during this period often takes part in bazaar & festivals, and give an important influence in the street culture development in Bandung. Various event organizers that are very active in organizing automotive show in Bandung are being born (such as KELPIE). In the mid 80's, a small skate park in Taman Lalu Lintas (Taman Ade Irma Suryani) brought the existing of skateboard communities, which also influence the birth of BMX, Hardcore & Punk communities, which are popular in early 1990. Trough this youth communities, the DIY ethics (Do It Yourself) are being introduced as ideas that encourages individual participation in forming a counter cultural act. RCTI, the first private TV broadcast station are began to operate in 1989, and marks the end of TVRI domination (National Television) as the only TV station in Indonesia.
1990
In the 90's, global stream and foreign investment are actively penetrates Indonesian social & economic spheres. The development of life style & urban culture in Bandung were heavily influenced by some particular situation in social, politic & macro economic sector. To understand the new tendency in the 1990's, perhaps we can consider these two major phases:
1. First Phase, Before Economic Crisis (1990-1997)
Global trends, inseparable with the globalization process and the development of new technology are becomes a massive influence in the development of life style and urban culture in Bandung during the 90's. Reverse, a small music studio in Sukasenang area could be regarded as an important example. This place also becomes an important seeds that stimulate the development of Bandung youth communities in the 90's. In its early development, Richard, Helvi & Dxxxt (former Reverse initiator), not only use Reverse studio as rehearsing studio for various bands (mostly plays rock music), but also as a hang out place and small outfit company. In the beginning, they only sells specific product for rock music and skateboard fans. It can be said that Reverse becomes the first nodes of youth community development and youth subculture at that times. Later on, Reverse also became a distro, selling CD, audiocassette, poster, artwork, and accessories, including the other imported & local stuff.[8] In 1994, some youngster that used to hang out in this place was publishing "Swirl", youth magazine that covers the activity of music & skateboard scene in Bandung.
In 1992, GMR radio in Bandung is the only radio station in Indonesia that broadcasted demo tape from new bands in this city. Troughs the talented hands of the late Samuel Marudut, this radio station also influence the development in the Bandung music scene during that period. Besides triggering the development of music communities in Bandung, GMR also promoting some rock bands from other cities like Jakarta & Surabaya.
Almost in the same periods of time, the APEC leaders meeting in Bogor (1994) declares the free trade agreement, which are projected to start in 2002. In the same year, Internet Service Provider business (ISP) starts to develop in Jakarta. Until 1995, Bandung was one of the third cities with larger Internet user in Indonesia. At least there are 10.000 Internet users in Jakarta, 1000 in Bandung and 3000 users in Surabaya. Political situation during this period was accompanied by the riot in East Timor and the banned of three major Indonesian media by the government: Tempo, Detik and Editor. In Bandung, the resistance movement against censorship from the government was represented in the underground media publishing, such as FOWI and INDEPENDEN.
During this period, hobby club and communities are moving into more political tendency. Alternative discourse and independent spirit are becomes the buzzwords among the youngster. The birth of Partai Rakyat Demokratik in 1996 (Democratic People Party) also influences the ideology of punk and hardcore communities in Bandung. Most of these communities started to distribute information in the xeroxed magazine as an alternative media. Known as Zine, this alternative media were holds a strong influence among youth communities in Bandung during that time. Submissive and Tigabelas was some of the examples.
The development in the music scene also stimulates the birth of independent record labels, which was developing an alternative distribution channel trough the using of Internet as their media and promotion tools. Started from the mid 90's, Richard Mutter, former drum player from Pass Band stated that he got some order from Japanese underground music fans from the internet when he releasing music under 40124 Records. From this label, he also releasing a legendary compilation album called "masaindahbangetsekalipisan" in 1996, which contain songs from underground band such as Full of Hate, Rotten to the Core, Sendal Jepit, Cherry Bombshell, Puppen, Balcony, etc. The underground networks were become well developed in 1997. During this year, Tian An Men 89 Records, a French record label company releasing a hardcore compilation with the title "Injak Balik! A Bandung HC/Punk Comp." This compilation supported by a number of Bandung bands such as Puppen, Closeminded, Savor of Filth, Deadly Ground, Piece of Cake, Runtah, Jeruji, Turtles Jr., and All Stupid. Most of the subject matters from the music of this album consisted of various political statements conveyed straightly by the bands involved in the project.[9]
Indiepop music movement started to appear in Bandung when Pure Saturday releasing their first album independently in 1996 (Pure Saturday, Baccott Management, 1996). This movement stimulates domino effect within the rise of bands who playing pop music in various form and format. There are about 75 bands in Bandung and Jakarta who plays this particular style of pop music during that time. Besides indiepop music, hardcore music scenes were also being developed in more massive form during the same periods. A festival called "Bandung Berisik" becomes an important remark amongst the hardcore music fanatics. Starting from a small music event, this festival becomes a stadium show scale with 10.000 audiences. Major Cigarette Company and local government in Bandung even sponsored this particular show.[10] The movements were also being supported by the appearance of independent media such as Revogram, Morbid Noise, and Brainwashed, which also documenting the development of this particular youth scene. Most of this independent media use a simple technique of reproduction and distribution by using xerography machine. More advance medium was presented by later generation of youth publishing company like Ripple Magazine (1999-present) and Trolley Magazine (2000- 2002).
Besides the influence of global capitalism in the form of multi-corporation product & media such as McDonald and MTV, the polarized youth politics/ ideology in Bandung urban culture & life style also being developed under political repression, mixed with globalize information flow that bring in the western life style propaganda. This creates multi-layered character among youth communities in Bandung, which was known for its DIY spirit & independency. Perhaps this also stimulates further developments for creative communities in Bandung, especially during the time of economic crisis and uncertain socio-political situation.
2. Second Phase: After Economic Crisis (1997-2000)
Economic crisis in Indonesia has a significant impact among youth communities in Bandung. During this period, the DIY spirits appears in the more concrete form. It transforms the political & economic gestures among youth communities, from loyal imported stuff consumer into a creative producer. A lot of youth communities in Bandung started to produce their own daily needs independently, and supporting local economic empowerment among community member. Some of them are started to establish clothing company, independent records label, produce & distributing media, and so on. 347/eat (1996), Riotic (1996), Airplane (1997), Monik (1997), Ouval Research (1997), No Label (1997), Harder (1998), Anonim (1999), FastForward Records (1999), Ripple Magazine (1999) and many more are among the first generation of creative communities that marks the landscape of Bandung creative scene today. Most of these communities produces & distributes local made products, inseparable with particular design style and trend, which directly influenced by global trends. The development of information technology, which connected the "local" with the globalize worlds, triggering the further development & creating the new identity of Bandung creative scene. Not only consuming the "foreign" life style, within its particular representation trough ideology and identity of the "other", but also deconstruct the information flow into a new form of local product, which later on absorbed by local market. This in return creates the new trends of life style, with a unique form & character in Bandung urban terrain.
2000 - present
During the early steps of new millennium, the Indonesian economic situation slowly became more stable. Local made products, which was produced by Bandung creative communities started to gain significant economic values. This was shown by the contribution of relatively huge financial investment in the DIY spirit business unit. Some clothing company are being able to open their own store, absorb 60 employee, open distribution channel in other cities, or even supporting local cultural events such as music concert and art exhibition. The emergence of initiatives spaces also became an important remark on the development of Bandung creative scene. Since year 2000, early dynamics of the existed initiative spaces has a strong influence on the activities of Bandung creative communities. Some of these spaces are come and go, appears in permanent/ semi permanent space such as Barak Gallery (RIP), Trimatra Center (RIP), If Venue (RIP), BTW SPACE (still in operation), Common Room (still in operation), ROOMNOONE (still in operation), Ujung Berung Rebel (still in operation), Rumah Musik Harry Roesly (still in operation), and so on. This particular places, were born from individual/ collective initiatives to accommodate aesthetic aspiration, which are considered as the "other" by established space/ institution.
Besides the rise of new initiatives spaces, the development of literature communities in Bandung also marks a significant tendency. In 2nd May 2001, Pasar Buku Bandung (Bandung Book Market) was established. Later on, in 2002 Pasar Buku Bandung was changing their names into Toko Buku Kecil (known as "Tobucil", a small bookshop). Using the space at Trimatra Center, which was originally established by communities of architect and projected into a space for collective activities, Tobucil started to adapt the concept of independency with cross subsidies approach, which mix the business (selling books) and community program. This bookshop also holds a mission on supporting local literacy movement, a credo that bears within the spirits of independent communities trough the everyday life perspective as their common platform. Some says that we can regarded Tobucil as part of post-modernist floats, were everyday life and micro components in our daily activities became the main source for understanding realities.[11] Trough the birth of Tobucil with its simple concept on literacy movement, which was easily accommodated by the public needs, the rise of "alternative bookshop" was became a new stage of development for literature communities in Bandung. From the database, which is being developed by Tobucil trough the Peta Buku Bandung Project (Bandung Book Map Project) in 2003, there are about 50 places that adapted the concept of local literacy movement in Bandung.
In the early 2000, the publishing of Trolley Magazine (2000-2002) distorted the establishing perspective & current trends in the youth magazines that existed during that period. Within its own way, this magazine also re-directed the perspective of younger generation in disseminating the current life style trough existing media. Even that the magazine are no longer exist, the style that applied in Trolley Magazine are becomes a patron for younger media publishing company in Bandung. Almost in the same periods, Boardrider Magazines (only publishing 4 editions), releasing a very specific aspiration from skateboard and surfing scene, not only from Bandung, but also from other cities in Indonesia. The emergences of young writer in Bandung are also an example that marks the important stages of development in Bandung literary scene. Dewi Lestari (known as Dee), releasing her novel entitled "Supernova", which are independently published, and distributed trough an alternative distribution channel. This novel can be considered as a booming since its became very popular an give a significant influence for literature in Indonesia.
Some important events during 2000-2005
Bandung Art Event (2001). An art activity formerly designed bi-annually, tried to combine the whole artistic elements in Bandung into one big programme. Although the programme was later abandoned, the event marked the awareness of combining many elements and art communities in Bandung, through their satellite programmes.
Dago Festival (2002-2004). Street festival that marks how commercial activity (through tobacco company) involved so many people and communities in Bandung.
Class of '95 (2005). An Indie-pop visual showcase dedicated to youth indie-pop culture grown in Bandung starting from 1995. During the period, a specific style applied to music scene, laboring new independent bands and labels, inseparable from developed graphic arts trends. The presentation of the project consist posters, photography, t-shirts, and memorabilias. In the opening day, live band performances attracted crowds from Bandung, Jakarta, Yogyakarta, and Bali, compressed in a tiny space.[12]
Initiation of Cipularang highway (2005), connecting Bandung and Jakarta. The most important impact is the shrunken distance between Jakarta and Bandung. It opens many opportunities for Jakartan to participate in creative communities' activities in Bandung, giving impacts of economy or benefits.
Bandung has some designated areas projected as commercial districs since the Dutch colonialization such as Asia Afrika Street and Braga Street. These areas are still functioning today as they were before. In the later development, in the early of 1980s, ruling major Ateng Wahyudi stated policy that transformed residencial area into commercial area in Cihampelas street, accommodating business interest. This area was later well known for jeans, as well as other wearable products, sold mainly to lower-class market and attracted significant number of buyer from Bandung and other places. Dago (officially: Ir.H. Juanda) Street experienced the same transformation in a bit later period. Existing residential area was grown into a floating "semi-commercial" zone, license were given to those who applied to develop business in the vicinity. Transformation of existing residential area into a touristic commercial area has increased greatly after 1998. The same thing happens to Riau (officially: L.L.R.E. Martadinata) Street. It is now crowded with factory outlet, cafe, and restaurant with more upper-class market to differentiate with business running at Cihampelas Street. Clothing shop boom started in 2002.
The shifting of land-use triggered even bigger commercialization. In most cases, inhabitants prefer to move out to quieter and cheaper-tax environment. Slowly, residencial areas turn completely to commercial area, without adequate policies that support sustainable economic aspect in its relation with wider city-planning context. As soon as Cipularang & Pasupati highway came into function, stream of domestic tourists, mostly from Jakarta, overflowing the new existing commercial areas and triggered supplementary business such as cafe, restaurants, hotels, advertisement media, etc. It later influenced Bandung creative communities. Lifestyle turned into commodity, supported by big capital interest. Clothing shop boom in 2002 and both local & national media exposures created snowball effect which later on employed creativity in it's relation with market demand, instead of DIY spirit and experimentation.
Desaturation of Ideology
Changes in macro geo-politic after the fall of the Soviet-Union in the early of 1990s affected Indonesia ten years later. During his presidency Abdurrahman Wahid invited former PKI exiles to return to Indonesia in 1999, and proposed removing restrictions on open discussion of the communist ideology. In arguing for the removal of the ban, Wahid cited Indonesia's original 1945 constitution, which did not prohibit or even specifically mention communism. Wahid's proposal was vigorously opposed by some sectors of Indonesia society, especially conservative Islamic groups [13] . Ideology, as an important and painted the colors of some creative communities transformed into business commodification. Icons of resistance such as Che Guevara, Lenin, Marx, etc. appeared in t-shirts and stickers, applied not to represent ideological vision but instead being a part of the lifestyle itself. It seems that this particular transformations were accepted by the market without any reserve (?).
Creative Communities and Their Puzzle
Initiative spaces have grown in Bandung since 1974 (Decenta Gallery), covering art & culture in normal definition. Knowing the fact that association/brotherhood/collective/gang/etc have always been existing in Bandung since long period, initiative spaces seem to be a extension of this natural character of Bandung people, to be together, to gather with others within the same interest, in order to survive. In this presentation, initiative spaces are identified as organizations facing issues of: space management, programme management, and have programme dissemination. These initiative spaces include: Decenta (1974-1984), SOS (1982-present), RedPoint (1993-present), Galeri Padi (1997-present?), Galeri Barak (1997-2001), Galeri Adira (1999-present), Galeri Fabriek (2002), Rumah Proses (2002-present?), Selasar Sunaryo Art Space (1998-present), Studio Pintu Merah (2005-present), BTW Art Space (2003-present?), Room no. 1 (2004-present?), Common Room (2003-present), Rumah Nusantara, Trimatra Centre, Jendela Ide (1995-present), Rumah Musik Harry Roesli (d/h Depot Kreasi Seni Bandung), etc. Literacy communities include: Tobucil, Rumah Buku, Omuniuum, Rumah Malka, Ultimus, Toko Buku Nalar, etc.
During the same period, communities inspired from "organic" activities such as daily experiences, discussions, and contact with certain information were formed into shape. Those organizations (mostly informal) or communities were used to channel artistic ideas, express identity/class related problem, state political aspiration or merely used as economic instruments. This form of communities include: VideoBabes, VideoLabs, Komunitas Malaikat, Abstrax, Gerbong Bawah Tanah, Rumah Grafis Cidamar, Studio Pohaci, Kopi Pait Society, Studio Jeihan, Cerahati & Biosampler, Pondok Kreasi, Ujung Berung Rebel/Homeless Crew, Riotic, Reverse, Harder, etc.
Along with the rest of formal institutions function in art-culture field, these creative communities have completed the creative class in Bandung. They contribute to the development of urban culture and voice their aspiration from various perspectives, but the fact that surviving communities are few in number shows that sustainability is a very serious issue. Puzzles of creative communities according to our records cover:
Internal handicaps
* Internal management of space & programmes
* Vision, mission & strategy
* Intuitive business development instead of researched one
External handicaps
* Blurred government policies toward creative industries as economic potential
* Tax mismanagement and intransparency
* Lack of clear policy that would rule the business of creative industries
* Lack of strategy to project creative industries as a sustainable economic development
* Lack of adequate infrastructure to support creative activities in Bandung
* Lack of land-use policy in its relation with city planning as a whole to nourish creative industries. Example: creative communities cannot afford increased price of land used by commercial business
Publication
Publication on creative activities in Bandung has so far done partially in forms of event reportage or product catalogue. Decent reviews or critics who intensely record and widely publicized in order to set a standard or milestone of creative activities in Bandung are close to inexistence.
Perception of Independency
Narrow perception of independency hold creative communities from co-operating with other institutions in order to help their sustainability. Independency that percept as a non-compromise attitude would give nothing but waste of human and financial resources because everything has to be done "independently". Independency should be seen as a process to develop a strong bargaining position with any institution through clear and fair negotiations. It is important to understand that this process would take time and patients.
Footnote:
[1] Museum Bank Indonesia, Jakarta -Indonesia, 5 September -5 October 2005. The biennale are being shut down after threated by FPI (Fronts for Islamic Defenders) for exhibiting works that shows nudity and insulting some particular Islamic group.
[2] W.F. Wertheim, Indonesian Society in Transition: the Changing Status System, page., 207. Social Inequality, edited by Andre Beteille (Penguin Education, 4th published, 1974)
[3] Haryoto Kunto, Semerbak Bunga di Bandung Raya, page., 828 - 831. (P.T Granesia Bandung, 1st published, 1986).
[4] Haryoto Kunto, ibid, page., 529.
[5] Info: http://id.wikipedia.org/wiki/Aktuil
[6] Enin Supriyanto, Against to Defeat, Resist the Repression of the New Regime Civilization (The affirmation in front of Bandung State Court to answer the claim of the State Authority, page 157, 10th February 1990).
[7] Interview with Tommy Dwijatmiko (Fuck You! We're From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com)
[8] Fuck You! We're From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com
[9] Fuck You! We're From Bandung!, Gustaff H. Iskandar, 2003; links: www.hetero-logia.blogspot.com
[10] Efek Domino Angkatan '95 (Gatra Magazine, 25 Maret 2005, page 82-83)
[11] Kompas Newspaper, Sunday, 19th May 2002, page 13.
[12] Link: http://commonroom.info/bcfnma/class95.html
[13] http://en.wikipedia.org/wiki/Communist_Party_of_Indonesia
Labels: Research and Development
Jenis Kegiatan yang Pernah Dilakukan
Dengan mengadaptasi konsep klab yang dikembangkan tobucil pada awalnya, kegiatan klab dibawah koordinasi Common Room, Klab berkembang sesuai dengan kebutuhan demikian pula dengan objektif kegiatannya. Dalam kurun waktu, 2003 – 2005 (sejak Common Room didirikan), bidang kegiatan Klabs meliputi:
- Sastra
- Seni Rupa
- Film
- Cultural Studies
- Fotografi
- Komik
- Sejarah
- Pendidikan
- Lingkungan Hidup
- New Media Arts
- Performance
- Musik
- Enterpreneurship
- Teater
- Psikologi
- Critical Discourse
- Olah Raga
- Desain
- Media
Labels: Activities
Visi dan Misi
Visi
Common Room Netwoks Foundation mendukung tegaknya demokrasi di Indonesia. Melalui berbagai kegiatan yang yang dikembangkan di Common Room, organisasi ini mendorong tegaknya prinsip kebebasan dan kemandirian masyarakat sipil dengan menekankan prioritas pada prinsip-prinsip otonomi individu, kesetaraan, apresiasi terhadap keragaman dan solidaritas diantara bangsa-bangsa di seluruh dunia.
Common Room Networks Foundation juga mendorong berbagai praktik/aktifitas penciptaan maupun penyebaran informasi dan pengetahuan yang bersandarkan pada etika inovasi, keterbukaan, integrasi berbagai bidang pengetahuan (terutama di bidang seni, ilmu pengetahuan dan teknologi), apresiasi terhadap keragaman budaya, kemandirian dan pemberdayaan. Selain itu, organisasi ini juga mendorong berbagai bentuk kerja kolaborasi yang memberikan penekanan khusus pada semangat pembentukan jaringan, kerja multi-disiplin, penyebaran pengetahuan/informasi dan kebebasan kreatif individu/kelompok melalui berbagai aktifitas yang dekat dengan kehidupan sehari-hari.
Misi
Common Room Networks Foundation mengimplementasikan visi organisasi melalui serangkaian aktifitas yang mengambil fokus pada kegiatan pengamatan (surveillance), dokumentasi dan telaah terhadap berbagai fenomena persoalan sehari-hari, melalui sudut pandang praktik budaya secara umum. Selain itu, organisasi ini juga ikut mengambil peran pada aktifitas pemberdayaan dan pembentukan jaringan komunitas masyarakat sipil melalui berbagai aktifitas penghimpunan, produksi dan distribusi informasi/pengetahuan yang terkait dengan persoalan kebudayaan secara luas. Adapun untuk masa kepengurusan tahun 2007 – 2008, fokus program kegiatan Common Room Networks Foundation secara simultan menyoroti beberapa persoalan sebagai berikut:
Common Room Netwoks Foundation mendukung tegaknya demokrasi di Indonesia. Melalui berbagai kegiatan yang yang dikembangkan di Common Room, organisasi ini mendorong tegaknya prinsip kebebasan dan kemandirian masyarakat sipil dengan menekankan prioritas pada prinsip-prinsip otonomi individu, kesetaraan, apresiasi terhadap keragaman dan solidaritas diantara bangsa-bangsa di seluruh dunia.
Common Room Networks Foundation juga mendorong berbagai praktik/aktifitas penciptaan maupun penyebaran informasi dan pengetahuan yang bersandarkan pada etika inovasi, keterbukaan, integrasi berbagai bidang pengetahuan (terutama di bidang seni, ilmu pengetahuan dan teknologi), apresiasi terhadap keragaman budaya, kemandirian dan pemberdayaan. Selain itu, organisasi ini juga mendorong berbagai bentuk kerja kolaborasi yang memberikan penekanan khusus pada semangat pembentukan jaringan, kerja multi-disiplin, penyebaran pengetahuan/informasi dan kebebasan kreatif individu/kelompok melalui berbagai aktifitas yang dekat dengan kehidupan sehari-hari.
Misi
Common Room Networks Foundation mengimplementasikan visi organisasi melalui serangkaian aktifitas yang mengambil fokus pada kegiatan pengamatan (surveillance), dokumentasi dan telaah terhadap berbagai fenomena persoalan sehari-hari, melalui sudut pandang praktik budaya secara umum. Selain itu, organisasi ini juga ikut mengambil peran pada aktifitas pemberdayaan dan pembentukan jaringan komunitas masyarakat sipil melalui berbagai aktifitas penghimpunan, produksi dan distribusi informasi/pengetahuan yang terkait dengan persoalan kebudayaan secara luas. Adapun untuk masa kepengurusan tahun 2007 – 2008, fokus program kegiatan Common Room Networks Foundation secara simultan menyoroti beberapa persoalan sebagai berikut:
- Pengembangan kreativitas dan pengetahuan publik
Agenda pengembangan kreativitas dan pengetahuan publik terutama terkait dengan kegiatan pencatatan, dokumentasi, penyusunan arsip, telaah/apreasiasi dan publikasi dari berbagai peristiwa dan fenomena yang terkait dengan kehidupan sehari-hari, dalam lingkup seni visual, desain, arsitektur ruang urban, musik, fesyen, sastra, media baru dan beberapa kajian yang secara khusus terkait dengan wacana mengenai budaya dan ekologi ruang urban. Lebih jauh lagi, distribusi informasi dan pengetahuan yang dihasilkan melalui aktifitas ini diharapkan dapat menjadi bangunan pengetahuan yang dapat diakses oleh publik secara luas. - Hak Asasi Manusia (HAM)
Agenda mengenai HAM difokuskan kepada upaya mengembangkan budaya demokrasi, yang memberikan porsi khusus pada otonomi individu, kesetaraan, kebebasan berekspresi, toleransi terhadap keragaman, dan solidaritas diantara segenap kelompok masyarakat sipil yang ada. Agenda ini juga akan menyinggung berbagai kasus pelanggaran HAM yang terkait dengan persoalan sosial dan beragam aktifitas yang berhubungan dengan kehidupan sehari-hari. - Lingkungan Hidup
Kota Bandung merupakan sebuah habitat ruang urban yang memiliki masalah lingkungan hidup yang cukup parah. Hal ini tercemin misalnya melalui masalah pengelolaan sampah (waste management) yang buruk, selain kadar polusi udara, tingkat kemacetan dan eksloitasi sumber daya alam yang berlebihan karena tingkat urbanisasi dan aktifitas industri yang tinggi. Dalam hal ini perlu dikembangkan sebentuk kesadaran yang secara khusus mencermati berbagai persoalan lingkungan hidup di dalam konteks ruang urban kota Bandung dari sudut pandang warga kota, guna mengantisipasi berbagai persoalan lingkungan hidup di kota ini. - Kemandirian Ekonomi
Perkembangan komunitas kreatif di kota Bandung sampai saat ini setidaknya telah berhasil menciptakan dan menyerap tenaga kerja, baik yang terdidik secara formal maupun yang otodidak. Hal ini dapat dipandang sebagai potensi yang dapat mendorong terciptanya lapangan kerja dan pertumbuhan ekonomi di tingkat lokal, yang dalam jangka panjang juga berpotensi untuk membangun kemandirian ekonomi masyarakat secara umum. Dalam hal ini, Common Room Networks Foundation mengambil peran secara khusus pada kegiatan penelitian dan pengembangan aktifitas ekonomi pengetahuan yang menitikberatkan pada pengembangan di bidang kreatifitas dan ilmu pengetahuan secara umum. - Pengorganisasian Masyarakat
Hal ini terkait dengan situasi dimana inisiatif masyarakat sipil untuk mengorganisasi diri dinilai telah banyak muncul namun masih bersifat sporadis dan tercerai-berai. Untuk itu, Common Room Networks Foundation memandang perlu untuk mengembangkan jaringan antar komunitas/organisasi yang ada sebagai wahana pertukaran berbagai informasi dan pengetahuan, selain juga sarana untuk mengembangkan prinsip-prinsip demokrasi dan HAM, termasuk menyebarkan prinsip-prinsip pemikiran yang mengapresiasi prinsip otonomi individu, kesetaraan, kebebasan berkespresi, apreasiasi terhadap keberagaman, toleransi, solidaritas, serta kepedulian akan persoalan sosial dan lingkungan hidup.
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Struktur Organisasi
Dewan Pelindung:
Dewan Penasehat:
Ketua:
R.E. Hartanto
Lahir di Bandung, 1973. Menempuh pendidikan formal di Jurusan Seni Murni, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung (1992-1998), menjadi asisten dosen di Jurusan Seni Murni (1998-2000), meneruskan pendidikan seni rupa di Rijksakademie van Beeldende Kunsten, Amsterdam, Belanda (2001-2002). Ikut mendirikan Bandung Center for New Media Arts (2001) dan Common Room (2003) dan bekerja untuk organisasi tersebut hingga sekarang. Selain bekerja untuk Common Room Networks Foundation, hingga kini masih tetap berkarya, berpartisipasi dan memfasilitasi kegiatan-kegiatan seni rupa.
Administrasi dan Keuangan:
Nunung Darwati
Lahir di Malang, 1977. Menempuh pendidikan formal di Jurusan Keuangan Perbankan, Universitas Brawijaya, Malang (1997-2000). Pernah bekerja di Bank Harta Guna, Malang (2001-2004). Mulai tahun 2006 bekerja di Common Room Networks Foundation.
Bidang Penelitian dan Pengembangan:
Gustaff H. Iskandar
Lahir di Sukabumi, 1974. Menempuh pendidikan formal di Jurusan Seni Murni, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung (1993-1999). Selepas kelulusan terjun ke dunia manajemen seni dengan mendirikan Poros Art Management, mendirikan dan mengurus penerbitan Majalah Trolley, sembari tetap berkarya dan berpartisipasi di kegiatan seni rupa. Mendirikan Bandung Center for New Media Arts (2001) dan Common Room (2003) dan bekerja di dua organisasi tersebut hingga sekarang. Menulis lepas untuk beberapa media lokal, nasional dan internasional, juga menjadi pembicara di berbagai diskusi, seminar dan konferensi untuk bidang seni rupa dan kebudayaan.
Bidang Komunikasi:
Tarlen Handayani
Lahir di Bandung, 1977. Menempuh pendidikan formal di Fakultas Ilmu Komunikasi bidang Kajian Jurnalistik, Universitas Islam Bandung (1996-2001). Mendirikan usaha toko buku kecil (tobucil) pada tahun 2001. Selain bekerja sebagai kepala Bidang Komunikasi di Common Room Networks Foundation, juga menjadi penulis lepas untuk beberapa media lokal dan nasional, serta menjadi periset lepas untuk isu-isu gender dan proyek film dokumenter.
Bidang Pengembangan Komunitas:
Niken Anggrahini
Lahir di Surabaya, 1979. Menempuh pendidikan formal di Fakultas Psikologi, Universitas Padjadjaran (1997-2006). Aktif menjadi fasilitator di Jendela Ide, sebuah organisasi budaya untuk anak dan remaja (2001-sekarang). Mulai bergabung di Common Room pada tahun 2004, dimulai dengan menjadi koordinator Klab Baca, kemudian menjadi administratur dan kini menjabat sebagai Kepala Bidang Pengembangan Komunitas.
- Ny. Maria Himendra Wargahadibrata
Patron.
- Bpk. Andar Manik
Seniman, pekerja sosial, pendiri dan pengurus Jendela Ide, sebuah organisasi budaya untuk anak dan remaja.
Dewan Penasehat:
- Dr. Bambang Sugiharto
staf pengajar di Fakultas Filsafat, Universitas Katolik Parahyangan, Bandung. Aktif menulis untuk berbagai media nasional, juga untuk jurnal-jurnal filsafat nasional dan internasional. Bicara di berbagai diskusi, seminar, dan konferensi nasional dan internasional, selain juga merancang dan memberi materi dalam program extension course Filsafat yang dibuka untuk umum, dalam usahanya untuk menyentuhkan filsafat dengan kehidupan sehari-hari.
- M. Ridwan Kamil, ST., MUD
arsitek, urban desainer, staf pengajar di Departemen Arsitektur, Institut Teknologi Bandung. Pendiri Urbane Indonesia Design, sebuah firma arsitektur internasional yang berbasis di Bandung. Menulis tentang arsitektur dan berbagai tema urban di beragam media nasional dan internasional.
- Dr. Ir. Woerjantari Soedarsono, MT
Arsitek, urban desainer, peneliti, staf pengajar di Departemen Arsitektur, Institut Teknologi Bandung. Saat ini menjabat sebagai ketua Pusat Studi Urban Desain.
- Haneda Sri Lastoto, SH
Advokat, mantan aktivis Lembaga Bantuan Hukum. - Santi Indra Astuti, M.Sos, M.Si
Pengajar, pengamat dan peneliti media, editor dan penerjemah. Mengajar filsafat komunikasi di Fakultas Komunikasi, Universitas Islam Bandung. - Dr. Priyanto Sunarto
Staf pengajar di Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung semenjak tahun 1973. Bekerja sebagai kartunis di majalah Tempo (1977-1994, 1998-sekarang). Saat ini menjabat sebagai Ketua Program Doktor Ilmu Seni Rupa dan Desain, FSRD – ITB. - Ir. Chay Asdak, M.Sc, Ph.D
Peneliti dan sekretaris di Lembaga Penelitian dan staf pengajar di Departemen Pertanian Universitas Padjadjaran. Terlibat dalam banyak penelitian dan sosialisasi dalam isu-isu mengenai lingkungan hidup. - Dr. Armein Z.R. Langi, M.Sc
Sejak 1999 hingga sekarang menjadi staf pengajar di Departemen Teknik Elektro, Institut Teknologi Bandung. Pada tahun yang sama menjadi dewan eksekutif Bandung High Technology Valley (BHTV) Programme, hingga sekarang. Pada bulan Nopember 2003 mendirikan dan menjadi presiden komisaris PT Clarisense Digital Media, sebuah perusahaan yang bergerak di bawah ITB dalam bidang ICT, multimedia dan telekomunikasi. Desember 2003 hingga kini menjabat sebagai wakil ketua Konsorsium Industri Telekomunikasi Nasional (KITNAS). Sejak Mei 2005 menjadi anggota Dewan Riset Nasional (DRN). Sejak Nopember 2005 menjadi kepala Pusat Riset Teknologi Informasi dan Komunikasi ITB.
Ketua:
R.E. Hartanto
Lahir di Bandung, 1973. Menempuh pendidikan formal di Jurusan Seni Murni, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung (1992-1998), menjadi asisten dosen di Jurusan Seni Murni (1998-2000), meneruskan pendidikan seni rupa di Rijksakademie van Beeldende Kunsten, Amsterdam, Belanda (2001-2002). Ikut mendirikan Bandung Center for New Media Arts (2001) dan Common Room (2003) dan bekerja untuk organisasi tersebut hingga sekarang. Selain bekerja untuk Common Room Networks Foundation, hingga kini masih tetap berkarya, berpartisipasi dan memfasilitasi kegiatan-kegiatan seni rupa.
Administrasi dan Keuangan:
Nunung Darwati
Lahir di Malang, 1977. Menempuh pendidikan formal di Jurusan Keuangan Perbankan, Universitas Brawijaya, Malang (1997-2000). Pernah bekerja di Bank Harta Guna, Malang (2001-2004). Mulai tahun 2006 bekerja di Common Room Networks Foundation.
Bidang Penelitian dan Pengembangan:
Gustaff H. Iskandar
Lahir di Sukabumi, 1974. Menempuh pendidikan formal di Jurusan Seni Murni, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung (1993-1999). Selepas kelulusan terjun ke dunia manajemen seni dengan mendirikan Poros Art Management, mendirikan dan mengurus penerbitan Majalah Trolley, sembari tetap berkarya dan berpartisipasi di kegiatan seni rupa. Mendirikan Bandung Center for New Media Arts (2001) dan Common Room (2003) dan bekerja di dua organisasi tersebut hingga sekarang. Menulis lepas untuk beberapa media lokal, nasional dan internasional, juga menjadi pembicara di berbagai diskusi, seminar dan konferensi untuk bidang seni rupa dan kebudayaan.
Bidang Komunikasi:
Tarlen Handayani
Lahir di Bandung, 1977. Menempuh pendidikan formal di Fakultas Ilmu Komunikasi bidang Kajian Jurnalistik, Universitas Islam Bandung (1996-2001). Mendirikan usaha toko buku kecil (tobucil) pada tahun 2001. Selain bekerja sebagai kepala Bidang Komunikasi di Common Room Networks Foundation, juga menjadi penulis lepas untuk beberapa media lokal dan nasional, serta menjadi periset lepas untuk isu-isu gender dan proyek film dokumenter.
Bidang Pengembangan Komunitas:
Niken Anggrahini
Lahir di Surabaya, 1979. Menempuh pendidikan formal di Fakultas Psikologi, Universitas Padjadjaran (1997-2006). Aktif menjadi fasilitator di Jendela Ide, sebuah organisasi budaya untuk anak dan remaja (2001-sekarang). Mulai bergabung di Common Room pada tahun 2004, dimulai dengan menjadi koordinator Klab Baca, kemudian menjadi administratur dan kini menjabat sebagai Kepala Bidang Pengembangan Komunitas.
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Sejarah dan Latar Belakang
SEJARAH DAN LATAR BELAKANG
Common Room Networks Foundation merupakan sebuah lembaga nirlaba yang bergerak di bidang pendidikan dan kebudayaan secara umum. Organisasi ini berdiri secara resmi pada tahun 2005, meskipun telah memulai aktifitasnya sejak tahun 2003. Didirikan di kota Bandung, Common Room Networks Foundation dibentuk dan dikelola secara bersama oleh Toko Buku Kecil (Tobucil) dan Bandung Center for New Media Arts. Tobucil merupakan sebuah toko buku yang aktif melakukan gerakan literasi lokal sejak tahun 2001, sementara Bandung Center for New Media Arts adalah sebuah organisasi penelitian dan pengembangan seni media baru yang didirikan di Bandung pada tahun yang sama.
Dalam aktifitas sehari-hari, Common Room Netwoks Foundation mengelola sebuah ruang inisiatif yang bernama Common Room. Di tempat ini berbagai macam kegiatan yang berasal dari inisiatif publik banyak dilakukan. Selain pameran, workshop, pertunjukan, diskusi dan pemutaran film; Common Room juga mengembangkan berbagai aktifitas penelitian dan pengembangan yang terkait dengan bidang seni visual, desain, arsitektur ruang urban, musik, fesyen, sastra, media baru dan beberapa kajian yang secara khusus terkait dengan wacana mengenai budaya dan ekologi ruang urban. Berbagai kegiatan yang dikembangkan di Common Room terutama ditujukan untuk membangun inisiatif masyarakat sipil dalam melakukan aktifitas pemberdayaan dan pembangunan jaringan; selain juga menghimpun, memproduksi dan menyebarkan informasi/pengetahuan yang diharapkan dapat memberikan kontribusi dalam membangun kehidupan masyarakat sipil yang kreatif dan mandiri di Indonesia.
Pada prinsipnya, berbagai kegiatan yang dikembangkan di Common Room merupakan aktifitas yang berasal dari inisiatif publik, dengan penekanan khusus pada pembagian tanggung jawab, negosiasi, dialog dan kolaborasi; selain juga mensyaratkan keterlibatan publik dan biaya pelaksanaan kegiatan yang murah. Hal ini terutama ditujukan untuk mendorong terbentuknya komunitas masyarakat sipil yang kreatif dan mandiri, baik dari sisi sosial, politik maupun ekonomi. Selain itu, Common Room juga senantiasa berupaya untuk mendorong terbentuknya jaringan antar komunitas masyarakat sipil, baik dalam konteks lokal, regional maupun internasional untuk membuka akses terhadap informasi dan pengetahuan; selain sebagai wahana bagi berbagai kemungkinan interaksi budaya. Melalui aktifitas ini, diharapkan Common Room dapat menjebatani dialog dan kolaborasi multi-disiplin, terutama melalui hubungan antar individu (people to people connection) maupun hubungan antar institusi/komunitas yang berasal dari beragam latar belakang ekonomi, sosial (masyarakat antar bangsa, kelompok etnis/agama) dan kepentingan politik yang berbeda.
Common Room Networks Foundation merupakan sebuah lembaga nirlaba yang bergerak di bidang pendidikan dan kebudayaan secara umum. Organisasi ini berdiri secara resmi pada tahun 2005, meskipun telah memulai aktifitasnya sejak tahun 2003. Didirikan di kota Bandung, Common Room Networks Foundation dibentuk dan dikelola secara bersama oleh Toko Buku Kecil (Tobucil) dan Bandung Center for New Media Arts. Tobucil merupakan sebuah toko buku yang aktif melakukan gerakan literasi lokal sejak tahun 2001, sementara Bandung Center for New Media Arts adalah sebuah organisasi penelitian dan pengembangan seni media baru yang didirikan di Bandung pada tahun yang sama.
Dalam aktifitas sehari-hari, Common Room Netwoks Foundation mengelola sebuah ruang inisiatif yang bernama Common Room. Di tempat ini berbagai macam kegiatan yang berasal dari inisiatif publik banyak dilakukan. Selain pameran, workshop, pertunjukan, diskusi dan pemutaran film; Common Room juga mengembangkan berbagai aktifitas penelitian dan pengembangan yang terkait dengan bidang seni visual, desain, arsitektur ruang urban, musik, fesyen, sastra, media baru dan beberapa kajian yang secara khusus terkait dengan wacana mengenai budaya dan ekologi ruang urban. Berbagai kegiatan yang dikembangkan di Common Room terutama ditujukan untuk membangun inisiatif masyarakat sipil dalam melakukan aktifitas pemberdayaan dan pembangunan jaringan; selain juga menghimpun, memproduksi dan menyebarkan informasi/pengetahuan yang diharapkan dapat memberikan kontribusi dalam membangun kehidupan masyarakat sipil yang kreatif dan mandiri di Indonesia.
Pada prinsipnya, berbagai kegiatan yang dikembangkan di Common Room merupakan aktifitas yang berasal dari inisiatif publik, dengan penekanan khusus pada pembagian tanggung jawab, negosiasi, dialog dan kolaborasi; selain juga mensyaratkan keterlibatan publik dan biaya pelaksanaan kegiatan yang murah. Hal ini terutama ditujukan untuk mendorong terbentuknya komunitas masyarakat sipil yang kreatif dan mandiri, baik dari sisi sosial, politik maupun ekonomi. Selain itu, Common Room juga senantiasa berupaya untuk mendorong terbentuknya jaringan antar komunitas masyarakat sipil, baik dalam konteks lokal, regional maupun internasional untuk membuka akses terhadap informasi dan pengetahuan; selain sebagai wahana bagi berbagai kemungkinan interaksi budaya. Melalui aktifitas ini, diharapkan Common Room dapat menjebatani dialog dan kolaborasi multi-disiplin, terutama melalui hubungan antar individu (people to people connection) maupun hubungan antar institusi/komunitas yang berasal dari beragam latar belakang ekonomi, sosial (masyarakat antar bangsa, kelompok etnis/agama) dan kepentingan politik yang berbeda.
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