Chapter 11 - Development of Photographic Education in Indonesia

Summary

As a matter of discourse, education requires a rational philosophical base for the implementation of an ongoing and sustainable teaching and learning processes. This premise is based on the belief that a philosophical concept of education requires direction and meaning in relation to the people involved, and that the act of education is carried out in a continuous manner that can be developed according to the demands of the times. ▶11.1

Because of the impact of colonialism, the early history of photography in Indonesia is bound to a European vision, as the Dutch had penetrated so deeply into the workings of the homeland. Early photographers working with the Dutch—including Jurriaan Munnich, Adolph Schaefer, Isidore van Kinsbergen, Woodbury & Page—devoted their work to the needs of the colonial government, often collaborating with archaeologists, geologists, and anthropologists. Out of necessity these photographers had to work with indigenous leaders, which ultimately brought them into greater contact with Indonesian communities. The first Indonesian to emerge in photography during the 19^th century is none other than Kassian Céphas, the court photographer for the Sultanate in Yogyakarta. He opened a photography studio in Lodji Ketjil, Yogyakarta. In addition to portraits of the royal family, Céphas’ work also includes archaeological photographs of Borobudur, Prambanan and its reliefs, as well as several buildings in the Sultan’s palace of in Yogyakarta. ▶11.2

In the late 19th and early 20th centuries, most of the amateur photographers working in Indonesia were ethnic Chinese, due in part to close relationships between Chinese and Dutch communities during the colonial era. Chinese were able to develop commercial photography studios in the major cities across the country. Likewise, during World War II the Japanese developed a dominating presence in Indonesian photography. However, the Japanese presence did not last long because after the war they left a minimal footprint in the archipelago. It is typically assumed that the Japanese used photography for espionage while occupying Indonesia.

Up to and even beyond the Japanese occupation, no attempt had been made for special photographic education, neither formal nor informal. Even if there were, it might be more vocational, or courses for hobbyists who later developed it towards professional/commercial photography, especially for developing portrait studios. But it is clear from the number of photo studios developed throughout the 20th century that photographic knowledge was passed through families to maintain small, family-run businesses.