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  • A Smiling Idiot in an Indonesian Village

    A Smiling Idiot in an Indonesian Village

    JR Sinclair

    I had never been completely on my own, relying entirely upon myself, until I travelled overseas in my early twenties. Being alone among people I did not know, while also realizing that no one knew exactly where I was, gave me a euphoric sense of freedom. I was keenly aware of the feeling because it was so intense that at times I wondered if I might not be going a little bit crazy: I would catch myself with a silly grin on my face, not a look of joie de vivre, but unadulterated joy like the smiles of Evangelical Christians who have clearly been provided with all the answers, and are so ecstatic about the lack of uncertainly in life, that they use facial expression to share this feeling with the entire world. 

    This monstrous happiness would usually coincide with me being not entirely certain where I was, but not lost, because I was exactly where I wanted to be. To onlookers I must have appeared like just another stoned backpacker, but I was as straight as a die, just thrilled by the process of breaking a mould that no longer quite fitted.

    While in the throes of my newfound freedom, I would play this little game when I arrived in a new town. I would ask myself, ‘What kind of person will I be today?’

    To go along with my chosen personality—be that an introvert, an extrovert, or whatever took my fancy—sometimes I even adopted a new name, but that became complicated when I met people I wanted to stay in contact with. To avoid the embarrassment of explaining to those people why I was not who I said I was, my name changing became confined to my first and middle names: some days I was John, some days I was Ross, and  occasionally I was even John Ross.

    Such feelings of freedom reached their zenith one morning when I was on a local bus travelling between two provincial towns in Central Sulawesi. I was looking out the window at what seemed like the middle of nowhere when all of a sudden I shouted, ‘Stop!’

    The people on the bus seemed surprised and somewhat bemused that I would want to stop in such a place; there were no houses or people anywhere in sight. The bus driver kept asking me if I was sure I wanted to get off.

    Up until that point in my life, a rural road in Central Sulawesi was the most out-of-the-way place I had ever been. 

    After the bus roared off and the dust settled over a natural stillness, I noticed a small track on the uphill side of the road. The track was clearly not suitable for larger vehicles, but there were signs that motorbikes and oxcarts used it, so I figured it must lead somewhere. It was a dirt track with rough fields on either side, where jagged tree stumps and smouldering piles of wood were interspersed with recently planted cassava stems. 

    I started walking up the track and ended up following it for several days.  

    Later that afternoon, and in the afternoons that followed, when I came across a village at a time that seemed like a sensible hour to stop, I asked for the Village Head. After a short negotiation to agree on a price, the Village Head took me to one of the villages houses where I stayed the night. 

    The houses were simple 1-2 roomed dwellings with iron roofs, walls and floors made from rough-hewn planks, with the only modern amenity being light from a single Butterfly lantern hung in the centre of the main room. Food was cooked on wood-fired stoves in a separate building, where the women worked while the men talked.

    The evening meal consisted of rice and vegetables with a little meat. On my first night, a single tin of curried chicken was opened and placed beside a bowl of rice in front of me. It was such a small tin, and there were so many people in the room, it was almost impossible to take only my fair share. 

    Evenings involved sitting on the porch with the family exchanging more smiles than words, except with the old people, who assumed I understood everything they said and proceeded with long one-sided conversations.

    One Village Head seemed particularly pleased to meet me. If the whole experience had not seemed so otherworldly, his roguish grin and humour-filled eyes would have been sufficient warning that he was up to something.

     We sat on a mat together in stilted conversation while his wife served us cups of tea and sickly-sweet cakes.

    Not long after my new friend established I was Christian—if I could communicate it I would say ‘raised a Christian’ and let people assume what they would—another man joined us on the mat with a young woman I assumed to be his daughter. 

    I sat and nodded and smiled not understanding 99% of what was being said, and certainly not understanding anything about what was happening. It was not until the third father and daughter, in a procession of fathers and daughters, that I began to suspect that these young women were being presented to me as prospective brides. 

    I could pick up the odd word in the sentences of the men; their daughters did not say a word. My suspicions were further raised when a sentence directed at me, with accompanying gestures directed at the young woman, had a word I recognised. 

    The word I recognised was, ‘love’.  

    With patched-together phases from my dog-eared phrasebook, I confirm my worst suspicions that I was indeed an eligible bachelor. 

    I must have seemed uncomfortable, yet the men could hardly contain their pleasure at the proceedings. The young women seemed less pleased by the goings-on as they flushed red with either embarrassment or anger.  

    The last of the young woman to sit on the mat—I shut the occasion down by lying about my marital status—was the only one to look at me and she studied me intently. When we made eye contact, she did not seem entirely repulsed. I wondered if she was sizing me up as an option to escape from a place where women were offered up to strangers. But then, that was possibly not what was happening at all, and I may have completely misinterpreted the entire situation. 

    It would not be the last time. 

    In every village I visited along that track I was asked my religion. 

    Muslim villages were no less friendly, but in them I did not seem to be considered an eligible bachelor.

    (The Muslim villagers were part of a grand scheme called Transmigration designed to ease the population pressure in far-off Java. Transported to remote often marginal frontier places, families were given land and supplies and left to eke out a living as best they could. The Christian villagers were rural poor from Sulawesi pushing into the forest in search of a better life. I planned to return to the area to work with a local conservation group, but the project was scrapped due to an outbreak of communal violence: the Christian and Muslim villages had subjected each other to the most horrific attacks. At the time I was first there, I would not have believed something so gruesome was possible. By the time I heard the stories, I had spent several years in Papua New Guinean. I had seen there the incredible potential for violence between neighbouring villages of different cultures that, to an ignorant outsider, appeared very similar, but in their reality share little in common other than deep-rooted mistrust and animosity)

    While I sat and drank sweet tea in the mornings before heading back out on the track, I would watch the men of the village heading out into the forest with chainsaws and air rifles. Under the Suharto dictatorship at the time, it was illegal to own firearms, so Indonesians made ingenious homemade air rifles; not the slug guns and bb guns of my childhood, but weapons capable of bringing down large birds, monkeys, and even small game. 

    I saw birds and lots of butterflies, and occasionally I heard a group of monkeys in the distance, but my walk was not the wildlife experience you might expect when so close to tropical rainforest. 

    The track I followed mostly skirted the edge of the forest, and walking along it was the first time I encountered tropical rainforest rapidly retreating to the sound of chainsaws and the smell of burning wood.  These were sensations I would experience repeatedly in the years that followed, and ones I have spent the last 30 years trying to stop, at least at the industrial scale. 

    The track eventually landed me back on another road—or it might have been the same one I had left several days earlier—where I hailed a passing bus, that took this smiling idiot, further along the road…

  • Lockdown fantasy: Phnom Penh Au Revoir

    Lockdown fantasy: Phnom Penh Au Revoir

    Oliver Wainwright, The Guardian, shares his lockdown fantasy: “I wish I was back in the bustling, mind-blowing beauty of Phnom Penh”

    Hovering like a banana-coloured flying saucer above the dusty, congested streets of scooters and cyclo taxis, the central market of Phnom is a remarkable thing. Its enormous concrete dome rises in sharply serrated steps, perforated with screens of chevron tiles, above four long streamlined arms that stretch out like the wings of a benevolent mothership, sheltering the chaotic labyrinth of market stalls below. Built in the 1930s, as a futuristic fusion of French art deco and Khmer temple motifs, it featured the second largest concrete dome in the world at the time (trumped only by the Pantheon in Rome), a fitting symbol of the Cambodian capital’s status as the “Pearl of Asia”.

    I didn’t have high hopes for Phnom Penh when I arrived there on a backpacking trip in 2003, after a few days exploring the jungle temple complex of Angkor Wat and the floating villages of Tonle Sap  I had been warned to get out of the Cambodian capital as quickly as possible and head for the coast. Almost entirely emptied of its population by the genocidal Khmer Rouge regime in the 1970s, the city was now bouncing back as an unplanned jumble, with French colonial buildings left to rot as new development expanded outwards in an unbridled sprawl.

    Yet Phnom Penh had a magnetic charm in its frenzied muddle, with dense streets of Chinese shophouses jostling for position with crumbling French mansions and heroic 1960s experiments in the New Khmer architecture of post-independence Cambodia. After interminable weeks of lockdown, it is exactly the kind of frenetic urban melee I’m longing for, to be lost in the bustle of crowds and wander for hours with no purpose other than to discover what lies around the next corner.

    Exploring a new city is a luxury most of us won’t have for a while, but in the meantime you can indulge your wanderlust with an architectural guidebook from Berlin-based publishers Dom. Since 2005, the architect-run firm has been producing illuminating titles on some of the world’s lesser-trodden architectural hotspots, from Astana to Pyongyang, Wrocław to Yerevan – and even the moon. Phnom Penh is a timely addition, a place whose architectural wonders from all eras have been increasingly under threat from a tidal wave of foreign investment, with no standardised building code nor binding zoning rules in place to guide the influx.

    The origin myth of Phnom Penh describes how a wealthy widow, named Grandmother Penh, found four bronze Buddha statues in a hollow tree in the river by her house, and erected a small shrine on an artificial hill (“phnom” in Khmer) to protect them. Wat Phnom still stands there, progressively enlarged and gilded over the centuries by generations of kings, its hill raised by tonnes of soil excavated from where the central market now stands.

    The temple’s white conical stupa rises above a cityscape that is mostly the result of French beaux-arts planning, its network of broad boulevards and public parks laid out from the 1870s onwards when Cambodia became a French protectorate. Under Parisian control until 1953, the city developed into a supremely elegant place, its tree-lined streets flanked by creamy stucco piles and ornate neo-Khmer fantasies such as the Royal Palace and the National Museum, along with art deco wonders including the central market.

    But the period that is enjoying renewed interest, overlooked until recently and still under threat, is the daring post-independence work of the 60s. It was an optimistic time of modernisation and bold infrastructure projects under Norodom Sihanouk, the eccentric king who became the first prime minster of the independent state. Proclaiming a new era of “royal Buddhist socialism” (which had very little to do with socialism and a lot to do with monarchic nationalism) Sihanouk embarked on an ambitious programme of public works, building schools, factories, sports facilities and cultural centres along with a deep sea port and expanded airport. Chief form-giver to much of this was Vann Molyvann, a young architect who had studied in Paris and brought a fresh new approach, combining international modernist principles with a deep appreciation of Khmer culture and an understanding of the local climate.

     “We could not simply repeat things as they were once done in Europe,” said Vann, in an interview later in life. “We had to think of new ideas, with a Cambodian perspective.” It was an uphill struggle. “When I first came back to Cambodia,” he recalled, “no one knew what an architect was.”

    He soon showed them. His first building was the expressive Chaktomuk conference hall, which still stands on the banks of the river like the leaf of a gigantic fan palm. Its zig-zag roof expands outwards in a broad arc, enclosing the fan-shaped hall and presenting the street with a curved frontage like an ornamental tiara. Next came the National Sports Complex(proudly known as the Olympic Stadium, despite Cambodia having never hosted the Olympic Games), a sublime essay in concrete construction, with four cantilevered waffle-slab roofs each supported by a single column – a feat managed with the help of Le Corbusier’s engineer, Vladimir Bodiansky. A structure as archaic as it is monumental, it has allusions to the temples of Angkor with its axial layout and quadripartite divisions, as well as clever passive environmental techniques, using moats to encourage ventilation and cooling, way ahead of its time.

    Vann deployed similar principles at the Royal University campus, where his former teacher training college stands as a masterpiece of the New Khmer spirit. A roof of honeycomb tubes hangs above an open loggia where windows are set back behind deep concrete shading fins; brick panels appear to float above a bridge flanked by naga (the divine half-serpent creatures of Hindu mythology), leading to elevated causeways that snake their way around the lush green campus above a series of cooling ponds.

    Tapering concrete columns ring a circular library, modelled on a typical Cambodian farmer’s straw hat, while a series of lecture halls are lined up along the side of a bridge pathway like chubby animals at a drinking trough. While the city’s new shopping malls are often chilled to arctic temperatures by energy-guzzling air conditioning, the rooms of the college are pleasantly cool without any mechanical systems, thanks to Vann’s climate-sensitive designs. “Cambodia is a society of half-earth, half-water,” the architect said. “Cities should not be built by landfill but by incorporating water into their design.”

    Sadly these are principles that seem to have been all but abandoned. In 2000, a Taiwanese investment company signed a contract to renovate the stadium in exchange for building on the land around it; the company proceeded to fill up the moats with offices and shops, destroying the hydraulic cooling system in the process. The surrounding land has since been sold for development, leading to a rash of high-rise blocks that now fringe the grounds.

    As the guidebook’s authors lament, the last decade has seen unprecedented growth, with destructive consequences. Following recovery from the 2008 financial crisis, Phnom Penh has become a real-estate hotspot for Chinese and South Korean investors looking to buy property without the tedious regulations or instability affecting most neighbouring countries in the region. Gated communities, or “borey”, have spread like a fungus, occupying huge plots of land without any connecting streets, creating a landscape of fenced-off islands and increasing congestion.

    Mirrored glass shafts have sprouted a stone’s throw from Wat Phnom, including Terry Farrell’s grotesquely clumsy Vattanac Capital tower, apparently designed to look like the arched back of a dragon, “poised to leap into a new era of prosperity”. With a high-end shopping mall aimed at the country’s ultra-rich elite of business tycoons and MPs, known as “excellencies”, it is an empty symbol of a place still mired in kleptocracy.

    Local architect Pen Sereypagna, director of the Vann Molyvann Project, an initiative to document Vann’s surviving works, is frank: “The development [of Phnom Penh] is based more on private interests than on the interests of the common good,” he says, in an interview in Dom’s guidebook. “There is a lack of public infrastructure and poor communities are being driven out of the city in the name of beautification.”

    Documenting more than 140 buildings in detail, often for the first time – from precious religious sites to everyday apartment complexes – this new book not only provides a comprehensive guide, but makes a powerful argument to preserve the richly layered urban fabric, much of which now stands in the line of fire.

    You can read the original article, including pictures, by clicking Josh Wainwright