From The Pluriverse

Gili Gili: Stories from Jakarta's Sidewalk

OC.M interviews Firda Amelia about her short documentary exploring youth culture in Jakarta, the megacity and capital of Indonesia

by Sara Arnold

Photos and film by Firda Amelia

While Paris, with its wide pavements, boulevards and avenues lined with cafes, was designed for people to be seen and be watched, Jakarta is a city in which pavements and public spaces on which people wander and explore the city and its inhabitants are hard to come by. In the absence of an urban architecture in which the act of flânerie can flourish, Firda Amelia’s documentary, Gili Gili (meaning pavement / sidewalk in Indonesian), provides a platform for Jakartan street style. She shines a light on youths that are experimenting with their sartorial expression, going against the grain of social expectations, expressing uniqueness whilst also adhering to the codes important to them. 

Indonesia has a population of 276 million, spread over 17,000 islands that would stretch from London to Afghanistan. It is home to the largest population of muslims, making up 87% of its population. And greater Jakarta is home to 33 million people. Despite this, we don’t hear much about its culture outside of the region. Firda is doing her part to shine a light on Indonesia’s under-represented clothing cultures. This documentary is just the start of Firda's ambition to platform the personal style of Indonesians by creating spaces to share their expression of identity and connect with one-another. She says, “The reward for people who participate is the validation that 'I am worth talking to' and, more importantly, 'I am worth listening to'. This act of sharing one's identity with others validates the self and satisfies our social needs.” Firda has several projects up her sleeve that further this ambition. Watch this space.

OC.M: Why is it so important for you, as an Indonesian, to bring these stories of Indonesian youth culture to a wider audience? 

Firda Amelia: In their self-titled exhibition in London (2020), Zanele Muholi made a powerful statement: "We should be counted on to write our own history and validate our own existence". This resonated deeply with me and fueled my determination to document and showcase important cultural narratives for generations to come. During my research process in developing Gili Gili, I noticed a common trend: much of the academic literature about Indonesia's youth culture and fashion communities was authored by non-Indonesians.

"I felt compelled to take charge of telling our own stories. By doing so, we can offer a more authentic and insightful perspective on contemporary youth culture and fashion in Jakarta."

I aspire for Gili Gili to represent not only Jakarta but also Indonesia and the broader Southeast Asian community. Mainstream media often focuses heavily on East Asia, leaving Southeast Asia underrepresented. Gili Gili aims to bring greater visibility and recognition to Southeast Asian perspectives in the global conversation on youth culture and fashion.

OC.M: In Gili Gili we see youths in Jakarta using bodily adornment to express resistance to hegemonic ideas of how we present ourselves in society. What do you see as the dominant forces dictating how youths in Jakarta dress?

Firda Amelia: Firstly, the influence of religious values on societal norms. Expressions of individuality through fashion may be perceived as unconventional within this context, as cultural and religious norms tend to prioritise modesty and conformity. Our clothing speaks volumes about our identity. Our family or religious community expects us to dress in a manner that reflects our devotion to our faith. 

Secondly, the role of socioeconomic status. In the past, fashion in Indonesia was largely inaccessible, perceived as a niche interest reserved for the wealthy and celebrities. Affordability and lack of access to exhibitions and other avenues showcasing fashion was a barrier, limiting exposure to fashion trends and making it a distant concept. With the recent emergence of a growing middle class and the democratisation of fashion facilitated by social media, Indonesians are now navigating a journey of self-discovery, exploring their identity through clothing and embracing new possibilities.

Furthermore, Jakarta's infrastructure poses challenges to self-expression. Narrow sidewalks and a bustling street vendor culture restricts pedestrian movement, limiting opportunities for organic street-style interactions. Public transportation and the tropical climate influence sartorial choices, prioritising practicality over individual expression. Clothes become more about navigating the environment and surviving its challenges rather than making a personal statement. Furthermore, these conditions hinder the ability to observe and appreciate other's fashion choices, disrupting the mutual exchange of style inspiration.

There’s also the issue of unrealistic beauty standards. The beauty ideal for women in Indonesia often emphasises traits like long, sleek hair, lighter skin, and slim figure, as portrayed primarily in mainstream media. Men also face similar standards, although there's more acceptance of diverse skin tones. Many feel disconnected from local media and brands because the standards don't reflect the country's diverse body types and average heights.

All the points above tie in with conformity. It is in our nature to gravitate towards people and/or places that accept who we are and provide a feeling of belongingness. 

Ocha, Oi, Annie, Ajip & Shelda

OC.M: We see in your film the meeting of ideas of identity that are a product of globalisation as well as the rich cultural identity of Indonesia. How do these ideas co-exist in Jakarta amongst the youth? Could you describe the essence of Jakarta's unique culture?

Firda Amelia: Jakarta is a melting pot where diverse cultural influences intersect. Within this vibrant urban landscape, various subcultures have blossomed and thrived. The pervasive reach of social media has empowered youth to seek inspiration and stay abreast of trends while fostering a reconnection with their cultural roots. This phenomenon, often referred to as "temporal authentication", sees young Jakartans drawing from their cultural heritage to borrow elements of dress for contemporary adaptation. They blend traditional Indonesian silhouettes with modern pieces like shirts, jeans, boots, and heels, creating a unique fusion of past and present in their personal style.

"We can dismantle harmful beauty standards, combat discrimination, and promote acceptance and respect for all individuals regardless of their appearance or style choices by celebrating diverse forms of self-expression."

OC.M: You have talked about the lack of discussion and space given to communicating the self through clothing and bodily adornment. Why is this so important?

Firda Amelia: Providing space empowers individuals to assert their autonomy, showcase their unique personality, and affirm their sense of self. Moreover, this expression of identity promotes inclusivity by embracing the diversity of backgrounds, cultures, and identities present in society. By sharing their perspectives and experiences through fashion, individuals contribute to a richer collective understanding of human expression and cultivate empathy and appreciation for individual differences. Encouraging discussions is also crucial in challenging societal norms and stereotypes related to beauty, gender, and identity. We can dismantle harmful beauty standards, combat discrimination, and promote acceptance and respect for all individuals regardless of their appearance or style choices by celebrating diverse forms of self-expression.