Getting acquainted with Surabaya through photography<\/p>\n
Indra Harsaputra, The Jakarta Post\/Surabaya<\/p>\n
Australia's Duncan Graham, a veteran journalist and a frequent
\ncontributor to The Jakarta Post, held a solo photo exhibition
\ncalled "Voyeur ou Reporter?" (Seer or Observer?) at Centre
\nCulturel et de Cooperation Linguistique (CCCL) in Surabaya on
\nDec. 1.<\/p>\n
"These photos are the most fantastic and most natural that I
\nhave taken with my camera. They depict the character of the
\npeople of Surabaya, who are known to be open and hospitable to
\nanybody," Graham said.<\/p>\n
In the exhibition, Graham, who has also written The People
\nNext Door, a book published by University of Western Australia
\nPress, exhibited 50 framed photos, all of which describe the life
\nof the people of East Java, with the majority of the works set in
\nSurabaya.<\/p>\n
Graham's photos generally describe 12 facial expressions,
\nencompassing wisdom, trust, doubt, pain, purpose, authority,
\npriorities, wonder, privilege, faith, skill and joy.<\/p>\n
For photography aficionados in Surabaya, Graham's photos are
\nnothing new. Many of the same themes and features can be found in
\nwork by Indonesian photographers.<\/p>\n
Take Oscar Motulloh, a senior photographer from Antara news
\nagency, and Trisnadi of Associated Press, for example. In their
\nphoto exhibitions, they always depict poverty, social problems
\nand conflicts.<\/p>\n
This is natural as the two photographers are part of this
\nsocial system and culture. Graham, however, is Australian, so for
\nhim the portrait of a community and its activities is
\nextraordinarily interesting and impressive.<\/p>\n
He can explain the purpose of his photos to both visitors and
\njournalists, and also point out differences between Indonesian
\nand Australian culture.<\/p>\n
Photography lovers are all agreed that Graham's works are
\nreally interesting. Perhaps they can help answer questions about
\nthe essence of humanity and culture.<\/p>\n
Life<\/p>\n
A resident of Surabaya for three years, Graham never feels
\ntired of explaining his works to other people, even if he has
\nalready looked at his photos hundreds of times. He selected all
\nof the photos for the exhibition himself.<\/p>\n
"It is really very difficult to get a natural pose like what
\nyou see in my photos in the West or even in Australia. People in
\nthe West enjoy the right of privacy that regulates their privacy
\nduring a photo session," he said.<\/p>\n
As laws regulating an individual's privacy are in force in the
\nWest, he said, a photographer must seek someone's permission
\nbefore taking his or her picture.<\/p>\n
In Indonesia, he said, someone's private life is for public
\nconsumption, ranging from his or her age to his or her religion
\nand other things related to private affairs.<\/p>\n
To illustrate, he mentioned a local newspaper in Surabaya that
\noften prints uncensored pictures of bloody bodies and corpses. In
\nthe West, he added, papers do not print such pictures.<\/p>\n
Unlike in the West, pornography is illegal in Indonesia.<\/p>\n
That is why in Indonesia a photographer cannot work as freely
\nas in the West. In Indonesia, a photographer is not someone the
\npublic fears. In fact, they allow photographers to take their
\npictures.<\/p>\n
"Indonesians place great trust in a photographer. I can freely
\ngo in and out of villages and people's homes without any pressure
\nat all," said Graham, who often pedals around Surabaya on his
\nbike looking for subjects.<\/p>\n
Claiming that he never tires of learning about the cultural
\nsecrets of Indonesian society, Graham said Indonesia was rich not
\nonly in terms of its natural wonders but also in human resources.
\nIndeed, his photos reflect these two aspects of the country.<\/p>",
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