So why Indonesia?

You may wonder why I am researching Indonesia. It’s a very valid question and one I have had recently. As a cultural outsider, not being Indonesian is indeed challenging for all concerned, and it’s something I wrestle with on a daily basis. Below is what I wrote in my Information Sheet given to participants.

My first time in Indonesia many moons ago

Well firstly, while my model based on social and intercultural capital can be used for other student cohorts, I hope to encourage more Indonesian students to come to the UK to study as a nation of growing importance. Secondly, having been to Indonesia around 20 times from Banda Aceh to Kupang, and Manado to Sumba, I would like to repay Indonesia by supporting their future. Lastly, there is very, very little research on Indonesian students and I hope this will support them. 

Being an outsider involves a two-prong approach. Firstly, I need to build awareness and trust in my project, revealing my ideas and proposals and being open and sociable. This comes easy to me: I feel it’s in my character. I’m a sociable person and am following my genuine interests in Bourdieu, and in particular in Indonesia. However, secondly, I have to maintain an academic distance to not influence the events or comments from the goodwill generated, but at the same time ensuring my genuineness to be entrusted with their stories. Walking this line is actually very challenging for me. I really hope it works out werll.

The interview stage has started now and my previous work know-how from interview practice on both sides of the table to extensive intercultural experience help to support sensitivity and reflexivity in my own actions. Fingers crossed!

Saga Dharma

Last night we went to see the Discover Indonesia event called Saga Dharma, a telling of the trials of modernisation on Indonesia interspersed with dances from the length of the archipelago. The sheer energy of the troupe, all students, led by students, was complemented by dramatic effects of music and buckets of goodwill was inspiring to see. The Indonesian students are a real credit to themselves. and their country.

The dances told stories from Aceh to Papua, highlighting mystical and pragmatic challenges. The women’s dance in Aceh was particularly ‘striking’ as the 10 women slapped their hands and chests to build the rhythm, all done in perfectly coordinated unision.

While it could be argued that these dance traditions are a symbolic obstacle to the very modernity the students strive for, and much of the past has been simplified and romanticised (see the book Rainbow Troops), the enthusiasm the students show for their show is genuine, and deeply-held. As a relative new nation, held together by cultural nationalism is no easy feat and the pride shown is genuine.