South Jakarta Street Musicians, a Reflection of the Difficulty in Accessing Decent Jobs in the City

The phenomenon of street musicians at several intersections in South Jakarta cannot be viewed merely as a matter of public order. Behind their brief performances when traffic lights turn red lies a deeper issue related to access to decent employment in major cities. Sociologist from Universitas Nasional, Nia Elvina, assesses that the presence of street musicians is a reflection of the urban society’s socio-economic conditions that are not yet fully inclusive. “I think this phenomenon is closely related to access to decent jobs for our musicians, so willy-nilly, they busk on the streets or in open spaces,” said Nia when contacted by Kompas.com on Tuesday (31/3/2026). She also highlighted that the position of art in society greatly depends on broader economic conditions. “Thus, it becomes a common phenomenon if the economy of society is still not good or prosperous, musicians will be marginalised,” she said. This perspective positions street musicians not merely as rule-breakers, but as part of a group driven to the informal sector due to limited economic choices. In the context of a city like Jakarta, informal spaces often serve as a “safety valve” for those not absorbed into the formal work system. Under the midday sun, the roar of vehicles almost never truly stops at the busy intersections of South Jakarta. However, amid that hustle and bustle, small spaces open up for street musicians to survive. When the traffic light turns red in the Mampang Prapatan area, two to three musicians quickly take positions at the roadside. One of them strums an acoustic guitar while singing, while his companion manages a simple speaker connected to a microphone. In less than two minutes, they must complete one short song, enough to attract the attention of drivers waiting for the green light. Kompas.com’s observation on Monday (30/3/2026) showed that this small group works collectively. There is a clear division of roles: the vocalist and guitarist as the centre of attention, another person handling the sound technicalities, and sometimes an additional member circulating with a container to receive money from drivers. Their coordination appears well-trained, as if they already understand the rhythm of the traffic lights as a repeating “stage.” Moving to the Panglima Polim area, a similar pattern is observed. However, not all performances receive the same response. Some drivers appear to give money, even nodding along to the song’s rhythm. On the other hand, there are those who choose to ignore, close their windows, or show uncomfortable gestures.