In 2009, I shared a blog post about my first trip to Jakarta, Indonesia. Since then, I’ve had the privilege of returning multiple times, each journey focused on the discovery and promotion of culture and art—specifically, the rich and diverse culture and art of Indonesia. Most recently, I embarked on my fourth visit to this 1000+ island nation, this time to participate in the inaugural Daya Music Festival of Indonesia 2024.
This groundbreaking festival was made possible by the vision of the DAYA Indonesia Performing Arts Academy, faculty and students, led by my long-time dear friend, Prof. Tjut Nyak Deviana Daudsjah, D.Th., A.Mus.D., founder and principal, with whom I’ve shared a bond for over 40 years dating back to our time in Switzerland. The festival took place at the esteemed Soehanna Hall, running from July 2-7, 2024, and was an extraordinary celebration of music, culture, and artistry, brought to life through the dedication of the Indonesia Arts Council, which Deviana also founded and chairs.
I’ll delve into the festival a bit more later in the posts. I’ve written the blog post in three parts. I thought it might be interesting to give a mini diary-like daily from when I arrived for the festival to the day of our departure.
We have been asked to return for July 2025 and I promise to do a “vlog” post to capture the experience with more visuals.
Departure JFK – June 30
I was elated because this year was the first time I wasn’t making this trip alone. My long-time friend and bandmate of the Veronica Nunn Quartet, bassist Jennifer Vincent, was joining me to participate in this maiden voyage of the festival. This was her premier visit to the country, and her excitement and fresh eyes became mine as well. Her enthusiasm was contagious and it added a bit of unpredictability to the familiar journey.
Arrival in Jakarta on Monday, July 1, 2024
After a lengthy 23-hour journey, with a brief layover in Hong Kong, we finally arrived at Soekarno–Hatta International Airport. We deplaned into the newly built section, and I must say, the airport upgrade was a pleasant surprise—everything was modern and state of the art. Navigating through customs was a breeze, and before we knew it, we were standing at baggage claim.
Stepping out into the warm, humid tropical night, we were greeted by a wonderful young man, one of Devi’s students, who had come to meet us. His name is Noah Van Den Bos, a truly remarkable individual—genuine, kind, and full of warmth. (he’s the one flashing the peace sign in the image below). Our ride to our hotel was familiar and was without delays in evening traffic.
I’ve stayed in numerous hotels on all my extended visits to Jakarta, each unique in its own way, some more upscale than others. Hotel Monopoli was unexpectedly charming. Situated in South Jakarta, it was centrally located near a huge shopping mall, and numerous health food restaurants and markets. There was even a Starbucks across the street! It was also close to the Daya school campus and the Energy Building where the festival was held, cutting down on travel time and frustrating traffic jams. Unlike other places I’ve stayed, Hotel Monopoli was packed with all the amenities one could need from a hotel. The architecture and design reminded me of a NYC Soho industrial-type hotel.
After I checked into my room (502), I acclimated myself to the space where I would sleep, get dressed, and write, basically, my living quarters for the next 10 days. Our lobby call wasn’t until 12:30 PM the following day. As is often the case for me, I didn’t manage to sleep on the 23-hour flight. So, with the goal of kicking off this adventure with a good, solid night of rest, I decided to take a Zzzquil sleep aid, hoping for a deep, peaceful sleep to recharge before the next day’s journey.
Tuesday, July 2, 2024
The Zzzquil was effective because I woke up around 5:30 AM fully refreshed, with no signs of grogginess and ready to begin the day’s activities. First thing in the morning as soon as I wake up, I make coffee whether at home or on the road. I’ve maintained this ritualistic activity as it reminds me of home and it keeps me centered and grounded. For the last 10 years, I have added Bulletproof Coffee Creamer, a powdered keto creamer that has grass-fed butter and MCT oil. You add a scoop to your coffee and froth and you’re good to go for the day with plenty of energy and focus. Yeah, I know it sounds like an ad commercial……I make this “bulletproof” coffee in my room and I don’t know why I’m just now aware of this but, I’ve discovered that almost all Indonesian coffee is usually purchased as an instant. Why?
Indonesia predominantly uses its robusta coffee for instant coffee and manufactured products due to the challenges of drying coffee in its high humidity and heavy rains. The wet-hulled process, or Giling Basah, helps manage these conditions by depulping coffee cherries and drying the beans on tarps or patios without their parchment layer, which can make them prone to contamination. This method imparts a distinctive flavor to Indonesian coffee, characterized by low acidity, a thick body, and rustic notes.
Despite the rise of manual brewing methods like pour-over and moka pots, instant coffee remains popular in Indonesia for its affordability, convenience, and long shelf life. It is easy to prepare, provides a quick caffeine boost, and is less likely to taste burnt thanks to the freeze-drying process. My fascination with different coffee types around the world fuels my ongoing exploration of coffee cultures and this is one of them.
The festival officially kicked off today, July 2nd. The renowned Energy Building in South Jakarta will host the exhibits, panel discussions, and performances throughout the event.
The first four days of the festival were dedicated entirely to the exhibition, situated on the mezzanine level of the building. Visitors had the opportunity to explore the work of local musical artisans, particularly instrument makers. Those who attended the workshops were given a thorough education on the intricate processes behind these crafts.
The final two days of the festival, July 6th and 7th, took place at Soehanna Hall. These days were filled with engaging, thought-provoking panel discussions and powerful performances that showcased the richness of pure Indonesian culture.
Since the exhibition was the first place we visited, I’ll describe my first impressions and give some information about the exhibitors, the instruments that were part of the exhibit and those that were used during the performances.
Although I wasn’t able to attend the workshops, I had the chance to speak briefly with several exhibitors, learning about their stories and the history behind the instruments and companies they founded. Each day, I made it a point to stop by and check in with them, gathering feedback on foot traffic, workshop attendance, and product sales. I developed a newfound admiration and appreciation for all the workmanship that goes into creating an instrument. And from the feedback, many others who attended felt the same way.
I managed to capture Jennifer testing the large Kendhang drum.
The exhibitors
Jennifer exploring the sounds of the Kendhang drum.
The gamelan was not present in this exhibit, but many of the other traditional instruments along with instruments familiar to the Westerners were on display. One in particular that’s played with gamelan ensembles of Javanese, Sundanese and Balinese music is the Kendhang and that was part of the exhibit.
The wooden slats that these women are holding is called the Angklung. Angklung is a traditional musical instrument that originated from West Java. It is made of bamboo slats arranged accordingly so that when vibrated or shaken it produces a sound that is so melodious and distinctive. Angklung must be played by many people to be able to produce a beautiful tone because one angklung represents one musical scale.
Kendhang – drum`
https://en.wikipedia.org/wiki/Kendang
is a two-headed drum used by people from the Indonesian Archipelago. The kendang is one of the primary instruments used in the gamelan ensembles of Javanese, Sundanese, and Balinese music. It is also used in various Kulintang ensembles in Indonesia, Brunei, Malaysia, Singapore, and the Philippines. It is constructed in a variety of ways by different ethnic groups. It is related to the Indian double-headed mridangam drum.
Kolintang was not part of the exhibition but it was played during one of the musical performances of the festival.
Kolintang (Kulintang) is a traditional Minahasan percussion instrument from North Sulawesi, Indonesia, consisting of wooden blades arranged in a row and mounted on a wooden tub. Kolintang is usually played in ensemble music. Kolintang in the Minahasan community is used to accompany traditional ceremonies, dance, singing, and music. The wood used to make Kolintang blades is light but strong local wood such as Telur wood, Wenuang wood, Cempaka wood, Waru wood, and the like which have a fiber construction. parallel. Meanwhile, kolintang resonator crates are usually made of hardwood materials such as teak or mahogany.
It has existed since ancient times used by the community to accompany traditional rituals associated with the ancestor spirits.
Throughout the musical segments of the festivals, all of the exhibitors’ instruments were used in the orchestras and musical combos. I’ve provided a mini slide show to give you an overall view of the exhibition floor.
This concludes part one of my three-part blog post on the DAYA Music Festival of Indonesia 2024.