The Combination of Diaspora and Music to Enhance Indonesia’S Cultural Diplomacy (Case Study of House of Angklung Washington Dc 2011-2014)

THE COMBINATION OF DIASPORA AND MUSIC TO ENHANCE INDONESIA’S CULTURAL DIPLOMACY (CASE STUDY OF HOUSE OF ANGKLUNG WASHINGTON DC 2011-2014)

WILMA SUKARNA PUTRI 016201400196

A thesis presented to the Faculty of Humanities President University in partial fulfillment of the requirements for Bachelor Degree in International Relations Major in Diplomacy Studies

January 2018

THESIS ADVISOR RECOMMENDATION LATER

This thesis entitled “The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy (Case Study of House of Angklung Washington DC 2011 – 2014)” created and submitted by Wilma Sukarna Putri in partial fulfillment of the requirements for the degree of Bachelor of Arts in International Relations from the Faculty of Humanities has been assessed and found to have satisfied the requirements for a thesis reliable to be presented. I therefore recommend this thesis for Oral Defense.

Cikarang, 25 January 2018

Isyana Adriani, B.A, M.Si Thesis Advisor

DECLARATION OF ORIGINALITY

I declare that this thesis, entitled “The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy (Case Study of House of Angklung Washington DC 2011 – 2014)” is to the best of my knowledge and belief, an original piece of work that has not been submitted, either in whole or in part, to another university to obtain a degree.

Cikarang, 25 January 2018

Wilma Sukarna Putri

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PANEL OF EXAMINER

APPROVAL SHEET

The Panel of Examiners declare that the thesis entitled “The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy (Case Study of House of Angklung Washington DC 2011 – 2014)” that was submitted by Wilma Sukarna Putri majoring in International Relations from the Faculty of Humanity was assessed and approved to have passed the Oral Examinations on February 6th, 2018.

Hendra Manurung, S.IP., MA Chair – Panel of Examiners

Riski Muhammad Baskoro, S.Sos., MA Examiner

Isyana Adriani, BA, M.Si Thesis Adviser

ABSTRACT

Thesis Title: The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy (Case Study of House of Angklung Washington DC 2011 – 2014)

As an effort of maintaining its relations with another country, it is necessary for a country to build and maintain a positive image. The Republic of Indonesia, continuously gives effort on the conduct of public diplomacy, including using culture as an instrument. However, the reality shows that Indonesia is still facing challenges due to the limitation of the government’s capability to maximally conduct cultural diplomacy, like limited budget, lack of concrete regulations, and human resource. Indonesian government has to be aware to use all of its potential that can make the conduct of cultural diplomacy become greater and achieve a better outcome. In the past few years, diaspora has become a phenomenon for Indonesia, following the spread of Indonesian people abroad. The government have been fully recognized diaspora and started to conduct a unit to manage diaspora and empower it to support national interest, especially in the conduct of diplomacy. Music on the other side, lies in the core of every culture in this world. Music has the ability to transcend boundaries of places, time, people with different cultural backgrounds. Diaspora and music are both playing a crucial role in the country’s conduct of diplomacy. When combined, diaspora and music is believed to be able to enhance Indonesia’s cultural diplomacy. The combination of diaspora and music can provide a better outcome on the conduct cultural diplomacy even though it is based on the limited capability of the government.

Keywords: Indonesia, cultural diplomacy, diaspora, music, combination

ABSTRAK

Thesis Title: The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy (Case Study of House of Angklung Washington DC 2011 – 2014) Sebagai upaya dalam menjaga hubungan dengan negara lain, membangun dan memelihara citra positif perlu dilakukan oleh sebuah negara. Republik Indonesia, terus berupaya melakukan diplomasi publik, termasuk menggunakan budaya sebagai instrumen. Namun, kenyataan menunjukkan bahwa Indonesia masih menghadapi banyak tantangan karena keterbatasan kemampuan pemerintah untuk secara maksimal melakukan diplomasi budaya, seperti anggaran yang terbatas, kurangnya peraturan yang konkret, dan sumber daya manusia. Pemerintah Indonesia harus sadar untuk menggunakan semua potensinya yang dapat membuat pelaksanaan diplomasi budaya menjadi lebih baik dan mencapai hasil yang lebih baik. Dalam beberapa tahun terakhir, diaspora telah menjadi fenomena bagi Indonesia, sehubungan dengan penyebaran masyarakat Indonesia di luar negeri. Pemerintah telah sepenuhnya menganggap diaspora dan mulai membangun sebuah unit untuk mengelola diaspora dan memberdayakannya untuk mendukung kepentingan nasional, terutama dalam melakukan diplomasi. Musik di sisi lain, berada pada inti setiap budaya di dunia ini. Musik memiliki kemampuan untuk melampaui batasan tempat, waktu, manusia dengan latar belakang budaya yang berbeda. Diaspora dan musik sama-sama memainkan peran penting dalam diplomasi di negara ini. Bila digabungkan, diaspora dan musik dipercaya untuk dapat meningkatkan diplomasi budaya Indonesia. Kombinasi diaspora dan musik dapat memberikan hasil yang lebih baik dalam melakukan diplomasi budaya meskipun didasarkan pada keterbatasan dalam kemampuan pemerintah.

Keywords: Indonesia, diplomasi budaya, diaspora, musik, kombinasi

ACKNOWLEDGEMENT

Bismillahirrahmanirrahim, In the name of God, the Most Gracious, the Most Merciful.

Above all, I would like to express my greatest gratitude to the Almighty God, for never stop giving and granting everything even when I felt like I did not deserve it.

This thesis is presented wholeheartedly, with all the drops of sweat and tears behind the process to:

The sun in my life, my mother Hellena and the pillar of my soul, my late father Sukarna.

Thank you for raising me as a person that can appreciate both the beauty and the struggle of life. Thank you for giving me the source of strength by simply existing, both in the world and in my heart. Your happiness is above everything in my life.

I would also thank my Godmother, Henny, my Grandma, Lasnasari, and all my family for the never-ending support. My precious nephews that have given a new spark of spirit in my life, my baby boys Kaylash and Xavier.

I would also thank Miss Isyana Adriani B. A, M.Si, as my thesis advisor, thank you for all the support and time you’ve spent to guide me in this thesis. A very huge thank also go to my examiner, Mr. Hendra Manurung, S.IP., MA, for the guidance and constructive input on my thesis, it is deeply appreciated.

For the one that I will never thank enough, my number one mentor, who also act as one of the examiners on my thesis defense, Mr. Riski Muhammad Baskoro, S. Sos., MA, I am beyond grateful and honored to be guided by you on this important step of my life. Thank you for being very understanding, supportive, and patient to guide me in this journey.

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To my support system, the eyewitness of my university life that had laugh and cry together with me:

Filda Amalia and Maria Angriani, the one that always support all the decisions that I made. Thank you for being very understanding and supportive, for letting me share not only the happiness but also the sorrow. We are as close as pulse, and I would like to keep it that way until the end of our lives. I cannot wait to have a more exciting journey with you two. I would also thank the +3 that make us all Team Hore, to Maulana Rizki, Jordanio Simorangkir, and Wismono Bagus, thank you for giving more colors on my university life, glad to have shared a lot of beautiful memories together.

Nisa Nabila, Ananda Haciperi, Nisrina Khairani, Sekar Sugihartono, Haekal Umri, and Aden Imanullah. A proverb said that if we do not know, we do not love. It is not even a year yet since I started to get along with you all, but from that time I would like to thank you for being the people that I can always count on, for being very supportive and understanding. Thank you for making 2017, a very tough year for me, a little less rough by giving all the love and laughter.

Rinjani Ummu Syina, Bella Kristiani, Jeliens Citra, Meilisa Audina, Dinda Sofira, Anthony Nicholas, Stephanie Korin, and everyone that have contributed on my university life, International Relations batch 2014, thank you for your presence that make my university life become of the best years of my life. Let’s climb the top together.

To all the BPPK family in the Ministry of Foreign Affairs, especially P3K Multilateral, Mr. Partogi Samosir and Mr. Widya P. Gultom for giving hands on the making of this thesis, to my supervisor Mrs. Septiane, thank you for all the good times and lesson during the time I spent on the office.

To the people that have been willing to be interviewed for this thesis, Mr. Dino Patti Djalal, Mr. Azis Nurwahyudi (Director of Public Diplomacy Ministry of Foreign Affairs), Mr. Ismunandar (Education and Cultural Attache of Indonesian Embassy in

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Washington DC), and Mrs. Primadona Rifai and the rest of House of Angklung Washington DC team, thank you for not only helping me by your contributions but also believing on the idea that I propose.

Last but not least, I believe that music exists in every aspect of human life, and we are all grow together with music. Music has the ability to transcend beyond boundaries of time, places, and even people from different cultural backgrounds. Hence, this thesis is written to prove that music is not only have the power and give contribution for a human being, but also for a state’s survival.

Cheers, to those who believe in music.

Cikarang, 25 January 2018

Wilma Sukarna Putri

TABLE OF CONTENT

THESIS ADVISOR RECOMMENDATION LATER ...... ii DECLARATION OF ORIGINALITY ...... iii PANEL OF EXAMINER ...... iv APPROVAL SHEET ...... iv ABSTRACT ...... v ABSTRAK ...... vi ACKNOWLEDGEMENT ...... vii CHAPTER I ...... 1 INTRODUCTION ...... 1 I.1 Background of Study ...... 1 I.2 Problem Identification ...... 10 I.3 Statement of Problem ...... 12 I.4 Research Objectives ...... 12 I.5 Significance of Study ...... 12 I.6 Theoretical Framework ...... 13 I.6.1 Soft Power ...... 13 I.6.2 Public Diplomacy ...... 15 I.6.3 Cultural Diplomacy ...... 17 I.7 Scope and Limitation of the Study ...... 20 I.8 Definition of Terms ...... 20 I.8.1 Cultural Diplomacy ...... 20 I.8.2 Music ...... 21 I.8.3 Diaspora ...... 21 1.9 Research Methodology ...... 22 1.10 Thesis Structure ...... 22 CHAPTER II ...... 26 LITERATURE REVIEW ...... 26

II.1 Soft Power the Means to Success in World Politics, Joseph Nye, Public Affairs, 2004 ...... 26 II.2 Diplomacy that Works: ‘Best Practices’ in Cultural Diplomacy, Cynthia P. Schneider, Ph.D., 2003...... 28 II.3 A Greater Role for Cultural Diplomacy by Simon Mark, Netherlands Institute of International Relations ‘Clingendael’, 2009...... 30 II.4 Cultural Diplomacy Harmonizing International Relations through Music, Mary Einbinder, (culturaldiplomacy.org), 2013...... 33 II.5 Music – One of the Best Ambassadors of Cultural Diplomacy, Oana Lianu, Bulletin of the Transilvania University of Braşov – Supplement, 2016...... 36 II.6 Theorizing Diaspora and Music, Thomas Solomon, Urban People - Lide Mesta, 2015...... 37 II.7 Indonesian Angklung: Intersections of Music Education and Cultural Diplomacy, Meghan Hynson...... 39 CHAPTER III ...... 43 Indonesia’s Cultural Diplomacy in the United States of America ...... 43 III.1 Bilateral Relations of Indonesia and the United States ...... 43 III.2 Indonesia’s Cultural Diplomacy in the United States of America ...... 45 III.2 Batik ...... 46 III.3 Wayang and Gamelan ...... 48 III.4 Cuisine ...... 50 CHAPTER IV ...... 52 Discovering Hidden Potential Behind the Combination of Diaspora and Music to enhance Indonesia’s Cultural Diplomacy ...... 52 IV.1 The Role of Indonesian Diaspora in Cultural Diplomacy ...... 52 IV.2 Music in Indonesian Cultural Diplomacy ...... 57 IV.3 The use of Angklung in Indonesian Cultural Diplomacy to the United States of America ...... 60 IV.4 Case Study of House of Angklung Washington DC 2011 – 2016 ...... 62 IV.4.1 House of Angklung 2011 ...... 67 IV.4.1 House of Angklung 2012 ...... 68

IV.4.1 House of Angklung 2013 ...... 68 IV.4.1 House of Angklung 2014 ...... 69 IV.5 The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy ...... 73 CHAPTER V ...... 79 CONCLUSION ...... 79 BIBLIOGRAPHY ...... 82 APPENDICES ...... 90 APPENDIX I. Transcript of Interview with Founder of Foreign Policy Community of Indonesia, Dino Patti Djalal, January 15th 2018 ...... 90 APPENDIX II. Transcript of Interview with Director of Public Diplomacy Ministry of Foreign Affairs of Republic of Indonesia, Aziz Nurwahyudi, January 18th 2018 ...... 92 APPENDIX III. Transcript of Interview with Education and Cultural Attaché Indonesian Embassy in Washington DC, December 18th 2017 ...... 96 APPENDIX IV. Transcript of Interview with Head of Coordinator House of Angklung Washington DC, January 12th 2018...... 105

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CHAPTER I

INTRODUCTION

I.1 Background of Study

The end of the Cold War has marked a change in international realm as countries tend to no longer strive to be powerful by gaining power through hard way, but through empowering one another and building cooperation, making maintaining relations among nations is more important than before. Through cooperation, countries are able to achieve both political and economic goals that they cannot achieve by themselves. Such thing makes a good image of a country matters than before, as it will support on maintaining relations and cooperation among countries. Promotion and branding should be done as an effort to maintain a good image of the country.

In the contemporary world, international relations have come to a new dimension marked by the changing of actors within it, different approach of diplomacy then getting served to be able to reach out the various actors in international relations. Traditional diplomacy was only focusing on relations between government to government, meanwhile modern diplomacy has adapted to the new actors within international relations, which are not only state actors but also non-state actors like international organizations, multinational cooperation, media, even groups and individuals.1 The instrument that is being used in conducting diplomacy then also varies, depending on the targeted actors that will be approached.

The freer world we live in today has given rights of freedom of expression to the people. Public now is playing a bigger role in influencing the decision-making process.

1 Wadlow, R. (n.d.). Reviewed Work: Non-state Actors in International Relations by Bas Arts, Math. International Journal on World Peace, 19(3), 97–100.

To promote its national interest and achieve its political aims, a country’s effort on conducting diplomacy should not merely focus to the policy maker of the targeted country, but also the supporting actors behind it. Therefore, what is so called as Public Diplomacy, or known as people to people diplomacy, is being conducted by countries to engage with foreign public. Aiming to attract and influence the opinion of the foreign public for the interest of the country. The term Public Diplomacy was first coined by Edmund Gullion in 1965, where he stated that public diplomacy is referring to the influence of public attitudes on the formulation and the implementation of foreign policy.2 It goes beyond the varies dimensions of traditional diplomacy as the government tries to cultivate the opinion of foreign public, interactions of private groups and country’s interest in one another, the report and impacts of foreign affairs on policy, communication between the people whose are having communication jobs such as diplomats and foreign correspondents, as well as intercultural communication process.3 The practice of public diplomacy then expected to make a state have the ability or power to create and maintain its good image by engaging to foreign public and influence and shaping their opinion for the benefit of the country.

It is believed that in winning the hearts and mind of public, the instrument used in diplomacy like economy and politics are not reliable, as such things are suitable for government to government type of diplomacy where concrete and regulated cooperation in such field can be achieved. Things that are able to influence the mind of the people are either things that are logical and make sense, or things that can make them feel something. Art and culture are things that have the ability to make a human being feel something as it produce beauty and attraction. Art and culture itself are things that did not come naturally, as what has been articulated by E. Labno-Falecka,

2 J. Cull, N. (2006, April 18). “Public Diplomacy” Before Gullion: The Evolution of a Phrase | USC Center on Public Diplomacy. Retrieved January 22, 2018, from https://uscpublicdiplomacy.org/blog/public-diplomacy-gullion-evolution-phrase 3 Ibid.

“culture is the civilization created by man. In this sense we all create culture”.4 Such thing makes the connection of culture and human is very tight. Therefore, art and culture have become a crucial instrument and one of the effective tool for the government to engage with publics, especially the foreign ones. Culture is seen as a tool that represent the country, it enables the country to tell stories and it finally become a bridge for foreign public to not only know, but also understand a particular country, which will lead to the making of good public opinion towards the country. Culture then become a soft power and a branch of Public Diplomacy. As what Joseph S. Nye stated on his journal of Public Diplomacy and Soft power, “a country’s soft power rest on its resources of culture, values, and policies” and public diplomacy has become a mean of the country to promote its soft power.5

The use of culture in public diplomacy then gave birth to the term Cultural Diplomacy. Described by Milton C. Cummings, the term cultural diplomacy refers to “the exchange of ideas, information, art, and other aspects of culture among nations and their peoples to foster mutual understanding”.6 A British anthropologist Edward Burnett Tylor defined the culture itself as “Culture ... is that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society”.7 According to Kevin V. Mulcahy, cultural diplomacy is basically aims “to develop mutual understanding, combat ethnocentrism and stereotyping, even preventing conflict”8. Aside of that culture has become one of the top tool of a state to be used for country’s promotion, acting as an attraction that will lead to support the state to achieve its both political and economic

4 Ryniejska – Kiełdanowicz, M. (n.d.). Cultural Diplomacy as a Form of International Communication. Retrieved from http://www.instituteforpr.org/wp- content/uploads/Ryniejska_Kieldanowicz.pdf 5 S. Nye. Jr., J. (2008). Public Diplomacy and Soft Power. The Annals Of The American Academy Of Political And Social Science. 6 C. Cummings, M. (2003). Cultural Diplomacy and the United States Government: A Survey. Center for arts and culture. 7 Burnett Tylor, E. (1871). Primitive culture : researches into the development of mythology, philosophy, religion, language, art, and custom (2nd ed., Vol. 1). J. Murray. 8 V. Mulcahy, K. (1999). Cultural Diplomacy in the Post-Cold War. The Journal Of Arts Management, Law, And Society, 1. 3 aims. Even though cultural diplomacy is a concept where the government is the one that leads the initiative, the actors or participants that involved within its practice and implementation are diverse, depending on the activities that being conducted in the implementation of cultural diplomacy.9 On its broader extend, cultural diplomacy includes the representation of the country’s culture through arts, language, even education. Which can be in a lot of form like cultural performances, artist performances, educational scholarships, exchange of academics, scholars, as well as conferences, festivals, and another.10 Thus, the actors are varies, including artists, singers, cultural groups, intellectuals, and even academics.11 Above the varies of activity on the implementation of cultural diplomacy, as well as varies of actors and practitioners, cultural diplomacy might be assumed as the “the deployment of a state’s culture in support of its foreign policy goals or diplomacy”, according to Simon Mark.12

Being a sovereign state since 17th of August 1945, the Republic of Indonesia has been one of the well-known large democratic countries with a very rapid development. The country has maintained good relations with countries all around the world be it the developing or developed ones, it is also join a few of regional cooperation, and actively contributes in international organizations which absolutely help the development of Indonesia itself. Indonesia’s image as a growing power in international arena remains important, as the country needs to foster a greater cooperation for both survival and the development of the country. In terms of public diplomacy, Indonesia has officially conduct the practice of public diplomacy as it can be seen through the establishment of Directorate General of Information and Public Diplomacy in its Ministry of Foreign Affairs since 2001, which aims to be able to conduct total diplomacy in international

9 Mark, S. (2009). A Greater Role for Cultural Diplomacy. Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf 10 Ibid., Pg. 10 11 Ibid., Pg. 10 12 Ibid., Pg. 1 4 level by letting all the stakeholders in the country to be involved.13 As what Indonesian Ambassador to Italy Esti Andayani stated, it is not only diplomats that can practice diplomacy and contribute to the country, public diplomacy open up opportunities for every elements of society to be involved in the practice of diplomacy.14

As the image of a country remain important, Indonesia is using its soft power in its practice of diplomacy today, aiming to influence foreign and national public through information, culture, and education to create a positive image of Indonesia as a democratic, moderate, and progressive country15. Known as the third largest democratic country in the world, Indonesia aims to be seen as not only a democratic country, but also a country whose people are also living in a democratic way, where conflicts can be solved peacefully. Moderate means that Indonesia’s pluralistic people can live together in harmony, and even both traditional and modern culture can exist alongside. Progressive refers to the Indonesia that is seen to be progressive in handling both national and international issues by conducting interfaith dialogue, which was initiated by Public Diplomacy Directorate which shows how Indonesia always prioritized peace and mediation in solving problems.16 Public Diplomacy Directorate also develop its approach of communication through people to people contact, by conducting cultural exchange, workshop, television and radio programs, symposium, and other forms of events and activities.17

Indonesia indeed have done a lot of activities and programs on its practice of public diplomacy through various programs in different fields. As a country that is rich in

13 Azra, A. (2016). Diplomasi Publik (1) | Republika Online. Republika Online. Retrieved 12 November 2017, from http://www.republika.co.id/berita/kolom/resonansi/16/05/25/o7qnio319- diplomasi-publik-1 14 TREND POSITIF DIPLOMASI PUBLIK Indonesia | %. (2017). Tabloiddiplomasi.org. Retrieved 12 November 2017, from http://www.tabloiddiplomasi.org/index.php/2017/03/29/trend-positif- diplomasi-publik-indonesia/ 15 Ibid., 16 Ibid., 17 Membangun Citra Indonesia yang Demokratis, Moderat dan Progresif Melalui Diplomasi Publik | %. (2017). Tabloiddiplomasi.org. Retrieved 12 November 2017, from http://www.tabloiddiplomasi.org/index.php/2017/07/07/membangun-citra-indonesia-yang-demokratis- moderat-dan-progresif-melalui-diplomasi-publik/

5 culture, Indonesia has also put culture as an instrument of diplomacy.18 The term Cultural diplomacy is something that is not only recognized by the country, but also practiced. In his journal ‘A Greater Role for Cultural Diplomacy’ Simon Mark stated that traditionally what it means by cultural in cultural diplomacy refers to high culture, which are visual arts, literature, dance, and music; cultural expression that has been served by intellectual elites.19 However, today’s cultural diplomacy also refers to culture as in popular culture, the one that attract mass audiences.20 Indonesia’s culture and heritage are varies in a lot of forms, starting from traditional performing arts, visual arts, architecture, literature, even cuisine. The authenticity of a lot of Indonesia’s culture have also been recognized by United Nations Educational, Scientific, and Cultural Organization or shortly known as UNESCO, be it the intangible or tangible ones, such as Wayang, Batik, Angklung, Saman dance, Kris, and Borobudur Temple.

Angklung is one of Indonesia’s most known traditional musical instrument that has been recognized internationally, as UNESCO has officially declared angklung as a Masterpiece of Oral and Intangible Heritage of Humanity on the 18th of November 2010.21 Up to this date, angklung has been one of Indonesia’s top instrument of cultural diplomacy. According to UNESCO, angklung is an Indonesian traditional music instrument made of bamboo with two tubes in a frame, which are bound by rattan cords. An angklung can only produce a single note or chord, making collaboration is needed when it comes to playing a song or melodies with angklung. The name

18 Tabloid Diplomasi. (2015). Potensi Seni Dan Budaya Indonesia Salah Satu Modal Penting Dalam Pelaksanaan Diplomasi Publik. [online] Available at: http://www.tabloiddiplomasi.org/index.php/2015/03/26/potensi-seni-dan-budaya-indonesia-salah-satu- modal-penting-dalam-pelaksanaan-diplomasi-publik/ [Accessed 9 Dec. 2017]. 19 Mark, S. (2009). A Greater Role for Cultural Diplomacy (p. 5). Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf 20 Ibid., 21 Web.archive.org. (n.d.). Wonderful Indonesia - Angklung : Harmony in a Bamboo Orchestra. [online] Available at: https://web.archive.org/web/20140928195329/http://indonesia.travel/en/destination/596/saung- angklung-udjo-village-nature-and-culture-in-perfect-harmony/article/89/angklung-harmony-in-a- bamboo-orchestra [Accessed 9 Dec. 2017].

6 angklung is coming from Sundanese “Angkleung-Angkleungan” that coming from the movement of the player and the sound of ‘klung’ coming from the angklung itself.22 angklung has been introduced internationally by letting the sound of angklung be heard abroad. Uncountable concerts and performances of angklung had been done be it conducted officially by the government of Indonesia or unofficial cultural institutions, even individuals as an effort to promote Indonesian culture abroad, to foster mutual understanding, all under the scope of cultural diplomacy.

Angklung is believed to be able to represent Indonesia and tell the story of the country. First, because of the beauty of the music it produces. Where the music itself is believed as a powerful thing for engagement. The idea of using music to engage with every elements of society seems strategic remembering the phrase of “Music is the universal language of mankind” by Henry Wadsworth Longfellow.23 Music has the ability to go beyond the limitation of space and time, it can be a tool for cross cultural communication as it does not limit itself to be understood by one particular individuals, groups, or entities as it works through emotions. The second reason behind the idea of angklung as a tool that can represent the country also lies behind how the angklung itself is being played. As a piece of angklung only able to represent limited notes, it takes collaboration of angklung with diverse notes to create a harmony of melodies. Such thing reflects the phase of Bhinneka Tunggal Ika or Unity in Diversity that has become Indonesia’s national motto since its independence. It can be assumed that the harmony produced by the sound of angklung is ‘Indonesia’, and all of the diverse ethnics, groups, religions, and culture exist within the country is the variety of ‘angklung’. It takes all of the diversity exist within the country to make Indonesia as

22 Wonderful Indonesia - Angklung : Harmony in a Bamboo Orchestra. Web.archive.org. Retrieved 12 November 2017, from https://web.archive.org/web/20140928195329/http://indonesia.travel/en/destination/596/saung- angklung-udjo-village-nature-and-culture-in-perfect-harmony/article/89/angklung-harmony-in-a- bamboo-orchestra 23 Longfellow, H. W. (1835). Outre-Mer: A Pilgrimage Beyond the Sea (Vol. 2). New York: Harper & Brothers.

7 one, the harmonious Indonesia. In using angklung as a tool to represent and promote the country under the scope of cultural diplomacy, the government is indeed being the one who leads the initiatives. However, in the implementation of cultural diplomacy varies of actors also exist to contribute and support the programs that being conducted by the government.

On the conduct of its cultural diplomacy, one thing that never been forgotten by Indonesia’s government is to let Indonesian diaspora be involved in the activities of cultural diplomacy. Especially when it comes to the activities of promoting Indonesia’s culture abroad. The definition of diaspora itself refers to “Emigrants and their descendants, who live outside the country of their birth or ancestry, either on a temporary or permanent basis, yet still maintain affective and material ties to their countries of origin”.24 What it means by Indonesian diaspora according to Dr. Dino Patti Djalal, refers to Indonesians who live abroad, and it is categorized into four groups. The first one is Indonesian citizen who live abroad but still holding Indonesia’s passport legally, the second one is Indonesian people who already became foreign citizen because of the process of naturalization and having no Indonesian passport, third, Indonesian people who have parents or ancestors coming from Indonesia, and the last is foreign citizen who have no connections to Indonesia but having a huge interest towards the country.25

Up to this date, Diaspora has given meaningful contribution to the practice of the state’s diplomacy. As what has been published by Al Busyra Basnur, the former Director of the Public Diplomacy Directorate in Ministry of Foreign Affairs of the Republic of Indonesia, the empowerment of Indonesian diaspora in supporting the achievement of Indonesian foreign policy can be seen through the involvement of

24 Agunias, D. R., & Newland, K. (2012). Developing a Road Map for Engaging Diasporas in Development: A Handbook for Policymakers and Practitioners in Home and Host Countries. International Organization for Migration. 25 About Diaspora ~ Diaspora Indonesia Network. Diasporaindonesia.org. Retrieved 12 November 2017, from http://www.diasporaindonesia.org/index.php/about/diaspora

Indonesian diaspora in multitrack diplomacy, changing brain drained to brain gained, increasing the competitiveness of Indonesia in global level, making Indonesian diaspora as government’s partners to fasten national development, making Indonesian diaspora as marketing agents, all to increase the welfare of Indonesian people and achieve the national interest of the country.26 In terms of promoting the country through cultural diplomacy, Indonesian government has also invite and let diaspora involved on the programs or activities that being conducted.

One of the example of the involvement of diaspora in the conduct of Indonesia’s cultural diplomacy is the House of Angklung Washington DC. It is an organization that contained a group of Indonesian diaspora located in Washington DC, United States, who has been playing angklung in the U.S land since it was established in 2007.27 HoA was established under the auspices of Angklung Rumpun Wargi Pasundan, a cultural association based in Washington DC that interested in Indonesian culture, precisely the Sundanese one coming from the West Java.28 HoA aims to introduce and promote the culture of Indonesia through angklung to Americans, it also aims to bring peace and harmony through music, especially with angklung.29

House of Angklung Washington DC has promoted angklung in various ways. The group has actively played in a lot of cultural and non-cultural events in the U.S since 2009, from Indonesian Cultural Exhibition to the World Refugee Day, until conducting a concert of their own called PALAU Angklung Concert. In the 9th of July 2011, HoA has become the part of angklung player ensemble that has break the world records, recognized by the Guinness World of Records with 5,182 people with different

26 Busyra Basnur, A. (2017). Pemberdayaan Masyarakat Indonesia di Luar Negeri untuk Kepentingan Nasional. kemlu.go.id. Retrieved from https://www.kemlu.go.id/id/lembar- informasi/Documents/Paparan%20Direktur%20Diplik%20- %20Forum%20Bakohumas%20Tematik%20Kemlu%202017.pdf 27 House of Angklung
Washington DC. (n.d.). About HoA. [online] Available at: http://www.houseofangklung.com/about-hoa.html [Accessed 9 Dec. 2017]. 28 Ibid., 29 Ibid.,

9 nationality played angklung together at Washington Monument.30 The promotion of angklung does not stop in the angklung performances, HoA also have another program that makes HoA different from other cultural groups that support Indonesia’s cultural diplomacy. It is the program named Angklung Goes to School. The AGST is a program where HoA is going from school to school and give workshops for 10 – 60 minutes duration. In the workshop, students will have the opportunity to jump directly to experience Indonesian culture.31 They will not only learn how angklung is being played, but also to play angklung by themselves.

This group of Indonesian diaspora then, with the same interest on promoting the country’s culture abroad and to bring harmony of peace through music, is working like the right hand of Indonesian government in conducting cultural diplomacy. Over all the manifestations of art within Indonesian culture, music, and the non-state actor which is diaspora, are believed to be best combined and able to enhance the country’s cultural diplomacy.

I.2 Problem Identification

Indonesia as a country that rich in culture, is not only recognized the concept of cultural diplomacy, but also implement such concept. Looking at the assets that it has, Indonesia is capable in doing more on its conduct of cultural diplomacy. Today’s Indonesian practice of cultural diplomacy can be assumed to the level of medium to weak, as what has been stated by former Indonesian ambassador to the United States Soemadi D.M Brotodiningrat, he also stated that diplomacy is about attracting people, which indeed can be done in a lot of ways.32 Culture, is the best way to win people’s

30 House of Angklung
Washington DC. (n.d.). Events/ Programs. [online] Available at: http://www.houseofangklung.com/events-programs.html [Accessed 9 Dec. 2017]. 31 House of Angklung
Washington DC. (n.d.). Angklung Goes to School. [online] Available at: http://www.houseofangklung.com/angklung-goes-to-school.html [Accessed 9 Dec. 2017]. 32 Wulandari, I. (2015). Diplomasi Budaya Indonesia Masih Rendah | Republika Online. Republika Online. Retrieved 24 January 2018, from http://nasional.republika.co.id/berita/nasional/umum/15/10/29/nwymzy346-diplomasi-budaya- indonesia-masih-rendah

10 heart and make them understand Indonesia. However, the government of Indonesia has not prioritized the conduct of cultural diplomacy, as the conduct of cultural diplomacy needs a huge amount of funding.33 Agreeing with him, Dino Patti Djalal who is also the former of Indonesian Ambassador to the United States, also stated that culture is the best medium to conduct diplomacy.34 Looking at the reality, the conduct of Indonesia’s cultural diplomacy is still facing some challenges, like the lack of budget and concrete regulations, such thing can somehow lead to the lack of human resources that makes cultural diplomacy initiatives did not produce a better outcome. What it means by a better outcome is when the promotion of the state’s culture is getting implemented, it is not only making the targeted audience aware of the country’s culture, but also having an understanding towards that. Even better when the promotion of culture can make the targeted audience willing to learn about that particular culture. Such thing will foster mutual understanding that is basically the aims of cultural diplomacy. Therefore, Indonesia as a country that is blessed by abundant variety of culture, actually has a strong basic to conduct a greater cultural diplomacy and achieve a better outcome. Indonesian government have to be aware in using all the resources that has the potential in enhancing the conduct of cultural diplomacy. This thesis will try to justify the ability of the combination of Indonesian diaspora, which has become a booming phenomenon for the past few years and its presence or involvement that has helped the conduct of Indonesian diplomacy, and Indonesian traditional music, precisely angklung, that is not only promoting the Indonesian culture through the beauty of music it produces but also the philosophy behind that, to enhance Indonesia’s cultural diplomacy.

33 Wulandari, I. (2015). Diplomasi Budaya Indonesia Masih Rendah | Republika Online. Republika Online. Retrieved 12 November 2017, from http://nasional.republika.co.id/berita/nasional/umum/15/10/29/nwymzy346-diplomasi-budaya- indonesia-masih-rendah 34 Ibid.,

I.3 Statement of Problem

How can the combination of diaspora and music enhance Indonesia’s cultural diplomacy reflecting to the case study of House of Angklung Washington DC in the period of 2011 to 2014?

I.4 Research Objectives

The research objectives of this research are:

• To know and understand the use of music and diaspora in the practice of Indonesia’s cultural diplomacy • To cultivate potential of the combination of music and diaspora in enhancing Indonesia’s cultural diplomacy by reflecting to the case study of House of Angklung Washington DC in the year of 2011 to 2014

I.5 Significance of Study

The significance of study that will be provided in this thesis are:

• Information about the conduct of Indonesia’s cultural diplomacy, including an understanding of the role of music and diaspora in Indonesia’s cultural diplomacy • Highlight of the use of Angklung as Indonesia’s traditional musical instrument as one of the effective tools to promote the country • An analysis of the combination of music and diaspora in enhancing Indonesia’s cultural diplomacy

I.6 Theoretical Framework

In this research, the writer will use the help of theories that will be able to give a clear perspective towards the topic and issues. Which will also enable the writer to answer the research question of this thesis comprehensively. The theories that will be used are:

I.6.1 Soft Power

Joseph Nye, an American political scientist of Harvard University defined power as “the ability to influence the behavior of others to get the outcomes one wants”, such thing can be achieved through several ways, through coercion with threat, inducement with payment, or through attraction and to co-opt.35 The concept of Soft Power was firstly coined by Nye, in his book Bound to Lead: The Changing Nature of American Power as a contrary of hard power that lies within the economic and military might, or also famously known as the ‘sticks and carrots’ approach, where sticks refers to threats and carrots refers to inducements, that makes those who worship hard power used threats and inducement as a way to achieve their goals on shaping the preferences of others.36 Soft power itself refers to the ability to shape the preferences of others, to make others want what one wants through co-opting rather than coercing.37 Co-opting can be done by attracting targeted audience through culture, as well as by manipulating political agendas that will make others fail to express their preferences as it seems to be too unrealistic.38 Both hard power and soft power are important in one’s effort on

35 S. Nye Jr., J. (2004). Soft Power: The Means To Success In World Politics (p. 2). New York: Public Affairs. 36 S. Nye Jr., J. (1991). Bound to Lead: The Changing Nature of American Power. Basic Books. 37 S. Nye Jr., J. (2004). Soft Power: The Means To Success In World Politics. New York: Public Affairs. 38 Ibid., Pg. 7

13 achieving its goals, as E.H Carr, a British realist described international power into three categories; military, economic, and power over opinion.39

Hard Power Soft Power Spectrum of behaviours • Command • Agenda setting • Coercion • Attraction • Inducement • Co-opt Most Likely Resources • Force • Institutions • Sanctions • Values • Payments • Culture • Bribes • Policies

Soft power also known as attractive power, whose resources are things that produce the attraction itself. There are three sources of soft power, first is the country’s culture when it is presumed attractive by others, second, the country’s political values when the value is being lived up both at home and abroad third, the policies of the country when it perceived to be legitimate and contains moral authority.40

Culture, in all of its manifestations, can be perceived as a source of soft power when it contained shared values and interest of others. Through such things, culture can be attractive to others and through that attraction culture can help the country to achieve what they want by simply influencing or shaping the preference of others. Reflecting to the topic of this research, Indonesia which is currently still in the level of developing

39 Ibid., Pg. 9 40 S. Nye Jr., J. (2004). Soft Power: The Means To Success In World Politics (p. 11). New York: Public Affairs.

14 country, with its very limited power in economy and military, might not be able to maximally achieve its goals by only depending on hard power. The country’s military might be strong, the national economy might be developing rapidly, but in order to strive itself for a greater development, the country has to be aware of another potential source of power. As a country that known to be rich in culture, Indonesia’s strongest soft power resource lies on the culture itself. The country has been blessed with diverse and abundant culture which have their own uniqueness and characteristics.

It is no longer an unknown thing that the beauty of Indonesia’s culture has started to be recognized by the world. Indonesia has become the destination of those who are curious and wanted to learn directly about the country’s culture. The products based on Indonesia’s culture also has been enjoyed by people all around the world. Indonesia’s culture has the ability to attract people and bring benefit for the country. Therefore, the country has to maximize its effort both in promoting and using the culture itself as a tool that will help the country to get greater outcomes.

I.6.2 Public Diplomacy

Different with traditional diplomacy that is only limited to state actors, public diplomacy has the involvement of non-state actors from non-governmental organizations, to individuals. The term public diplomacy was first coined by Edmund Gullion in 1965 that refers public diplomacy as the conduct of diplomacy that “deals with the influence of public attitudes on the formation and execution of foreign policies.”41 Public diplomacy is encompassing the dimensions of international relations beyond traditional diplomacy, as the government does cultivate foreign public opinion, interaction of private group and interest among countries, reports on

41 J. Cull, N. (2006). "Public Diplomacy" Before Gullion: The Evolution of a Phrase | USC Center on Public Diplomacy. Uscpublicdiplomacy.org. Retrieved 29 January 2018, from https://uscpublicdiplomacy.org/blog/public-diplomacy-gullion-evolution-phrase

15 foreign affairs that can impact policies, communication between people whose job is related to communication, intercultural communication process.42

Bruce Gregory offers a simple explanation of public diplomacy to be understood, which refers public diplomacy as “the means by which States, associate of states and non-state actors understand cultures, attitudes and behaviour, build and manage relationships, and influence opinions and actions to advance their interests and values.”43 From this, it can be seen that public diplomacy engage with various actors, both the state actors and the non-state ones, to directly or indirectly influence the opinion of the public for their interest.

Often be assumed as similar to propaganda, what makes public diplomacy different with propaganda is that it provides two ways of communication, where the flow of information exchange by the government as well as the people exist. Even though the government is the initiator of public diplomacy, in reality, the one that implement the programs is also the non-state actors, the people that related to the field that getting used in the conduct of public diplomacy, like technology, culture, and education.

Indonesia is one of the countries that has taken the practice of public diplomacy seriously. This can be seen from the establishment of a Directorate General unit focusing on public diplomacy in the Indonesian Ministry of Foreign Affairs. Through the conduct of such unit, the government is paying a concrete attention to the practice of public diplomacy, creating programs that can be useful to create a ‘positive image’ of the country abroad. In winning the hearts and mind of the public, Indonesia’s government is well aware of having to use various of instrument in the conduct of diplomacy as a mean to expand the engagement with the public, as public with different background of age, countries, and culture might not attracted to the same specific

42 Ibid., 43 Caitlin Byrne. (2012). Public Diplomacy and Constructivism: A Synergistic and Enabling Relationship. In Public Diplomacy Theory and Conceptual Issues.

16 program. Various instruments then are getting used to conduct a more effective and comprehensive public diplomacy, like culture, education, and technology. From various programs in the conduct of diplomacy, the government is sharing the information, informing public with the values that Indonesia upholds, and aiming to influence them in a positive way to generates positive opinion that can support the establishment of a positive image of the country.

I.6.3 Cultural Diplomacy

The concept of cultural diplomacy can be assumed to exist following the concept of soft power that perceived culture as one of its resources. Culture is believed to be able to show the identity of the nation, attract the others, influence their preferences, and at the end giving good outcomes for the country. Milton Cummings on his book ‘Cultural Diplomacy and the United States Government: A Survey’ defines the concept of cultural diplomacy as:

“The exchange of ideas, information, art and other aspects of culture among nations and their peoples in order to foster mutual understanding’ which ‘can also be more of a one-way street than a two-way exchange, as when one nation concentrates its efforts on promoting the national language, explaining its policies and point of view, or “telling its story” to the rest of the world.”44

Referring to such explanation, Simon Mark also defines cultural diplomacy as “the deployment of state’s culture in support of its foreign policy goals or diplomacy.”45 Following those explanation above, cultural diplomacy which aims to be a boost for mutual understanding is expected to be able to combat the misconception of the

44 C. Cummings, M. (2003). Cultural Diplomacy and the United States Government: A Survey. Center for arts and culture. 45 Mark, S. (2009). A Greater Role for Cultural Diplomacy (p. 1). Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf

17 country’s image, the ethnocentrism and stereotyping that might leads to conflict.46 A good understanding towards the country will lead to other more beneficial things like from cooperation to trade, until prevention of conflicts.

The term culture in cultural diplomacy itself is not only limited to high culture, the one that attract and enjoyed by intellectual elites, mostly in a form of literature, visual arts, theatre, music, and another, but also the popular culture, any cultural expression that attract and enjoyed by mass audiences.47 With all the manifestations of art, the activities of cultural diplomacy can be in a lot of variety ways, starting from concert, exhibition, festival, until the exchange of academics to scholarship programs. Making the conduct of cultural diplomacy itself is different from the traditional ones, where states are the only actors within the conduct of diplomacy. Actors within cultural diplomacy varies, even though the government is the one that lead the initiatives, the actors are ranging from the government of the state to international organizations, both domestic and international groups, diaspora, even individuals like artist, singer, all type of cultural and art performer, to academics and scholars. 48

The first concrete and well conducted cultural diplomacy can be seen in the era of Cold War, where the United States was using the music of jazz, sending jazz ambassadors of the country to the USSR. The jazz ambassadors coming from the U.S were not only just playing music, but they carried out message of American ideas and values and trying to show the power through the attractiveness of the music. Using every potential of the country’s resource wisely, Indonesia has not only recognized the concept of cultural diplomacy, but it also have managed the conduct of the cultural diplomacy itself. The country is very aware how culture, which is perceived as one of the country’s soft power, can be a tool that support the country’s foreign policy and

46 V. Mulcahy, K. (2010). Cultural Diplomacy in the Post-Cold War World. The Journal Of Arts Management, Law, And Society, 29(1). 47 Mark, S. (2009). A Greater Role for Cultural Diplomacy (p. 5). Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf 48 Ibid., Pg. 10

18 diplomacy. Reflecting to the case study of this research, Indonesia’s most known cultural product in the form of musical instrument ‘Angklung’ is believed to be the right tool or item in the conduct of cultural diplomacy. Aside of the beauty of Indonesia’s culture that can be shown through this particular item, Angklung which produces music, is believed to be able to engage with people better than any other manifestation of cultural products.

Made of bamboos, Indonesia’s angklung is not only attractive by the beauty of how it sounds, how it is very easy to be played, but also the philosophy behind the mechanism of how to play the angklung itself. This musical instrument is very effective to be carried out to travel to places because of its size and weight, making from time to time the sound of angklung is being heard all around the world as the government of Indonesia continuously use angklung to promote the nation’s culture. What makes angklung more interesting is, most of the angklung performances does not only engage with audiences only by the music, but also how the audiences is getting invited to learn and play with angklung. This activity is known to be effective to make the audience get a deeper understanding of angklung as they not only enjoying the music, but also directly learn to play with it. For example, the colossal concert took place in Beijing on 2013, was breaking world’s record on angklung concert with more than 5.000 people playing angklung together.49 This event is conducted by Indonesian Embassy in Beijing together with Indonesia – Tiongkok Association (Perhimpunan Persahabatan Indonesia-Tiongkok (PPIT)) with the aims to promote Indonesia’s culture as well sharing and strengthening the people’s relations between the two nations. 50

The use of music over all of the manifestation of art as an instrument of cultural diplomacy is believed to be able to improve intercultural communication between

49 Shuo, H. (2013). Guinness World Record on Angklung set in Beijing[1]|chinadaily.com.cn. Chinadaily.com.cn. Retrieved 19 January 2018, from http://www.chinadaily.com.cn/china/2013-07/01/content_16698339.htm 50 Ibid.,

19 people of the world, which will foster mutual understanding and produce more cooperation among nations. Music which is assumed as the universal language of humankind, with its ability to transcend boundaries among human, places, and even time, will work when words have failed. Those ability to influence and shape one’s preferences through attraction will help on the process of peacebuilding when economic and political power failed.

I.7 Scope and Limitation of the Study

The scope and limitation of this thesis would be based on the use of music in Indonesia’s cultural diplomacy, especially angklung as one of the main traditional musical instrument that can represent Indonesia. This thesis will not discuss another traditional musical instrument nor another type of art and culture that belongs to Indonesia such as traditional dance or literature. This thesis will also only discuss the role of diaspora in supporting the conduct of Indonesia’s cultural diplomacy in the field of music, by reflecting to the case study of House of Angklung Washington DC from the year of 2011 – 2014 The period of 2011 – 2014, where Ambassador Dino Patti Djalal was becoming the Indonesian Ambassador for the United States. The organization was involved in various of events, even conducting an exciting program to promote angklung from school to school. Through this period of time the writer aims to cultivate the potential of the combination of music and diaspora that will justify that the combination has the ability to enhance Indonesia’s cultural diplomacy.

I.8 Definition of Terms

I.8.1 Cultural Diplomacy

This research will use the most cited definition of cultural diplomacy coming from Milton C. Cummings Different with traditional diplomacy, that defines cultural diplomacy as “the exchange of ideas, information, art and other aspects of culture

20 among nations and their peoples in order to foster mutual understanding”.51 According to Simon Mark, cultural diplomacy is the use or “deployment of a state’s culture in supporting its foreign policy and the conduct of diplomacy.”52 Different with traditional diplomacy, cultural diplomacy is the kind of diplomacy where there is also a presence of non-state actors as the practitioners.

I.8.2 Music

This research believed music as a universal language of humankind which makes it able to go beyond places, times, and deeply enjoyed and understand by human no matter where they come from, what is their ethnicity and religion, and the color of their skin. This thesis refers the definition of music as the one that has been defined by Andrew Kania, where music is “(1) any event intentionally produced or organized (2) to be heard, and (3) either (a) to have some basic musical feature, such as pitch or rhythm, or (b) to be listened to for such features”.53 The deployment of music in the conduct of diplomacy is believed to offer a better engagement to the people than any other manifestation of art and culture. The use of music in Indonesia’s cultural diplomacy will be seen through the use of angklung, a traditional musical instrument from Indonesia.

I.8.3 Diaspora

Since there is no single universal definition of the word ‘Diaspora’, this thesis will only refers to the definition of Diaspora written in a book titled “Developing a Road Map for Engaging Diasporas in Development: A Handbook for Policymakers and

51 C. Cummings, M. (2003). Cultural Diplomacy and the United States Government: A Survey. Center for arts and culture. 52 Mark, S. (2009). A Greater Role for Cultural Diplomacy (p. 1). Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf

53 Kania, A., & Grayck, T. (2011). Definition. New York: Routledge.

Practitioners in Home and Host Countries” written by Dovelyn Rannveig Agunias and Kathleen Newland that defined “Emigrants and their descendants, who live outside the country of their birth or ancestry, either on a temporary or permanent basis, yet still maintain affective and material ties to their countries of origin”.54

1.9 Research Methodology

The research methodology of this thesis is a qualitative method, as the thesis is designed to be an analytical and a descriptive one. In order to answer the research question of this thesis, the writer will analyze the collection of qualitative data which are related to the topic of this thesis, like books, publications, journal articles, as well as reports. The writer will also conduct interviews with the experts on the field to gain deeper understanding and more reliable information.

1.10 Thesis Structure

Chapter I – Introduction

In this chapter, the writer will give a brief explanation about the topic of this thesis. Starting from the explanation of cultural diplomacy, the use of art and music in cultural diplomacy, Indonesia’s conduct of cultural diplomacy, the choosing of angklung as an instrument of cultural diplomacy, until the case study of House of Angklung in the year of 2011 to 2016. Following such explanation, the writer will also point out problem identification and set out a question to be answered in this research. This chapter will also explain the research objectives and theories that will be used in this

54 Agunias, D. R., & Newland, K. (2012). Developing a Road Map for Engaging Diasporas in Development: A Handbook for Policymakers and Practitioners in Home and Host Countries. International Organization for Migration.

22 research. Such things will be explained in this chapter through several sub-chapters which are:

- Background of study - Problem Identification - Statement of Problem - Research Objectives - Significance of the Study - Theoritical framework - Scope and limitation of the study - Research Methodology - Definition of terms - Thesis structure

The first chapter aims to be able to let the reader understands the brief topic of this thesis and what question that is expected to be answered through this research in the following chapters.

Chapter II – Literature Review

This chapter will be contained about all the sources that will help the writer on finishing the research. A summary of books, journals, articles related to the topic of this thesis will be written in this chapter. The writer will use sources related to cultural diplomacy, the use of music in cultural diplomacy, cultural diplomacy of Indonesia, the use of angklung as an instrument of Indonesia’s cultural diplomacy, until diaspora to support the writer on finishing the research.

Chapter III – Indonesia’s Cultural Diplomacy in the United States of America

This chapter aims to explain the conduct of Indonesia’s cultural diplomacy in the United States of America. It will be started with a brief explanation about the bilateral relations between both country, followed by explanation of the conduct of Indonesia’s

23 cultural diplomacy using variety of Indonesian culture. This chapter will be having several sub-chapters which are:

III.1 Bilateral Relations of Indonesia and the United States

III.2 Batik

III.3 Wayang and Gamelan

III.4 Cuisine

Chapter IV – Discovering Hidden Potential behind the Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy

This chapter aims to explain a more comprehensive explanation of the role of Indonesian diaspora in the country’s conduct of cultural diplomacy, as well as the music as a part of its culture. A brief explanation about the utilization of Indonesian Angklung in the conduct of the country’s cultural diplomacy to the United States will also explained, followed by the explanation and case study of House of Angklung Washington DC 2011 – 2016. This chapter will be closed by the analysis that the writer has done in this research, reflecting to the case study of this thesis. This chapter will be divided into several sub-chapters which are:

IV.1 The Role of Indonesian Diaspora in Cultural Diplomacy

IV.2 Music in Indonesian Cultural Diplomacy

IV.3 The use of Angklung in Indonesian Cultural Diplomacy to the United States of America

IV.4 Case Study of House of Angklung Washington DC 2011 – 2016

IV.4.1 House of Angklung Washington DC 2011

IV.4.2 House of Angklung Washington DC 2012

IV.4.3. House of Angklung Washington DC 2013

IV.4.4 House of Angklung Washington DC 2014

IV.5 The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy

Chapter V – Conclusion

This chapter will provide the conclusion of the research of this thesis. A summary of the topic of this thesis as well as the answer of the given research question will be answered clearly in this chapter.

CHAPTER II

LITERATURE REVIEW

In order to finish this research, in the second chapter of this thesis the writer will provide reviews from reliable sources like books, journal articles, publications, and reports, that related to the topic of this thesis. The aims of this chapter is to help the writer in having a deeper understanding towards things related to the topic of this thesis which can help the writer to finish the research. The writer will review the sources and make a summary that highlight important things that can be learned from the sources and relate it to the topic of this thesis.

II.1 Soft Power the Means to Success in World Politics, Joseph Nye, Public Affairs, 2004

In this book, Joseph Nye firstly discuss about the changing nature of power. If in hundreds of centuries ago Machiavelli assumed that it is best for Princes of Italy to be feared than to be loved, in the world today, it is better to be both.55 Such thing makes the soft dimensions should be considered and counted in strategies to wield power. Generally, power is defined as the ability to get the outcome that one wants as well as the ability to influence the preferences of others to make such thing happen.56 Nye defined that there are three ways on doing that, the first one is through coercion, inducement, and attraction.57

The world is very aware and familiar of what is so called as hard power, which according to Nye the hard power itself rest on the idea of using threats or “sticks” and inducement or “carrots” to make or influence others to do a favor. Hard power also

55 S. Nye Jr., J. (2004). Soft Power: The Means To Success In World Politics. New York: Public Affairs. 56 Ibid., 57 Ibid.,

26 commonly referred to economic and military might. However, Nye assumed that the ability to influence or shaping the preferences of others to wants what one wants can also be done without using such coercion and inducement. What is so called as “second face of power” or “soft power” is the ability to make others wanting the same outcome by co-opting with them instead of using coercion. 58 Soft power lies within the ability on shaping others’ preference, which can be done through attraction.59 In world politics, a country might be able to get the outcome it wants when there are admirations of that country by the others, how others are admiring its values, getting aspired by the prosperity and openness of that country, and how the other countries might emulate its example.60 Such admiration comes from the attraction produced by the country, which makes attracting is also important, not only coercing others based on the military and economic might. Nye believed that soft power is not merely about the ability to influence or moving people by arguments, but also the ability to attract, when the attraction itself is often lead to acquiescence.61

The sources of soft power itself is the things that produce such attraction. According to Nye, there are three aspects or resources of a country’s soft power. The first one is the culture that belongs to the country itself when it is seen to be attractive by others.62 The second one is the political values of that country, when that political values is being lives up both at home and also abroad.63 The last one is the country’s foreign policy, when it is seen to be legitimate and contains moral authority.64 When it comes to culture, the culture of a country can be perceived as the source of soft power when the culture itself is attractive to others. Such attraction can be created when the culture of that country contains universal values, and its policies promote shared values and

58 S. Nye Jr., J. (2004). Soft Power: The Means To Success In World Politics (p. 5). New York: Public Affairs. 59 Ibid., 60 Ibid., 61 Ibid., Pg. 6 62 Ibid., Pg. 11 63 Ibid., 64 Ibid.,

27 interest of others. The probability of the state in getting the outcome it desired will increase due to the relationship of attractions that has been created.

This book is providing a brief explanation about soft power and help the writer on having a deeper understanding of such concept. This book also provides the idea that a way on achieving goals with the absence of coercion or hard power exists, and how maintaining the ‘soft dimension’ is important in wielding power. This book also provided explanation about the sources of soft power, which one of it is culture. Such thing is related to the topic of this thesis, through this book, the writer can get more understanding of how culture is assumed as a source that can generate soft power and such thing can justified the writer’s topic of cultural diplomacy, where culture is being used as an instrument of a state’s diplomacy.

II.2 Diplomacy that Works: ‘Best Practices’ in Cultural Diplomacy, Cynthia P. Schneider, Ph.D., 2003.

In this article, Schneider believed that “cultural diplomacy has the potential to create a unique atmosphere, often through a shared experience of a cultural event”65. Schneider stated that cultural diplomacy, whose definition refers to the one coming from Milton C. Cummings, since America’s earliest days, has been playing a role for the state’s relationship to the world.66 She also referred to a cultural diplomacy definition from Thomas Jefferson,

“You see I am an enthusiast on the subject of the arts. But it is an enthusiasm of which I am not ashamed, as its object is to improve the taste of my countrymen, to increase

65 P. Schneider, C. (2003). Diplomacy that Works: ‘Best Practices’ in Cultural Diplomacy. Center for Arts and Culture. Retrieved from http://www.interarts.net/descargas/interarts645.pdf 66 Ibid.,

28 their reputation, to reconcile to them the respect of the world and procure them its praise”67

The American military and economic might are indeed giving the unchallenged position for the country in the international realm. However, Schneider argued that such power could not be used to win the hearts and minds of the people, in informing and communicating the ideas behind the great America, which are freedom, equality, and justice.68 Instead, cultural diplomacy works as the best practice to communicate the intangibles. The government of the United States was actively sending the country’s best artist, actors, musicians, even writer and dancer for showcases and tours all around the world in the country’s cultural diplomacy heyday from 1950 – 1975.69 One of its best act was a tour of the country’s best jazz ambassadors, claiming to perform for ‘the people’ and introduced the idea of equality to show the values of the country in the United States when Duke Ellington refuse to play if people in all level, not only the elites, to be allowed to join and enjoy the jazz showcase in Soviet Union.70 Aside of sending its ‘cultural ambassadors’ abroad, the State Department also complemented the effort with conducting the Fullbright and other exchange programs, spreading the seeds of knowledge and understanding with a purpose of having a long- term friendship to the fellows. Responding the Russian propaganda scheme on that time, Senator William Fullbright claimed that the exchange programs are the most effective weapon to fight the attacks carried out by the Communist, in the war of ideas and propaganda.71

From various effort from state’s in conducting programs in cultural diplomacy, Schneider outline several points that will make the initiatives on the conduct of cultural

67 Jefferson Randolph, T. (1829). Memoirs, Corespondence, and Private Papers of Thomas Jefferson, Late President of The United States (Vol. 1). Henry Colburn and Richard Bentley. 68 P. Schneider, C. (2003). Diplomacy that Works: ‘Best Practices’ in Cultural Diplomacy (p. 2). Center for Arts and Culture. Retrieved from http://www.interarts.net/descargas/interarts645.pdf 69 Ibid., Pg. 3 70 Ibid., 71 J. William Fulbright, “Open Doors, Not Iron Curtain,” The New York Times Magazine, 5 August 1951, p.26.

29 diplomacy success. First, it has to be able to communicate the state’s values. Second, match the interest of the targeted states’ interest. Third, giving both information and pleasure under the spirit of exchange and mutual respect. Fourth, opening doors between diplomats. Fifth, giving alternative dimension of the country’s official presence in the country. Sixth, forming long-term relationship and cultivate ties. The last, it should be creative, flexible, as well as opportunistic.72 Cultural diplomacy initiatives can be carried out in various ways, and sometimes the result will be predictable, and in another time, it might not be predictable. In making an effective cultural diplomacy initiative, one should not forget that the initiative should ‘resonate with local population’. Meaning that different states with different culture are perceiving things differently. Therefore, the acts or mediums that will be used should be suitable and well-calculated in order of gaining the maximum outcome.

This article provides a comprehensive understanding from the eyes of the pioneer of cultural diplomacy, which is the United States. It offers a logic measurement and points to make an efficient cultural diplomacy initiative. From this article the writer of this thesis understands deeply and agreed with the idea of cultural diplomacy as the best way to communicate the intangibles (ideas and values uphold by a state). Taking various United States’ cultural diplomacy initiatives as examples, culture and arts are indeed a powerful tool to win the hearts and mind of the people. One of the plus point the writer of this thesis found through this article is, what makes cultural diplomacy has the ability to communicate the intangible is when the initiative resonates with the local people, it would not generate sentiment as it makes shared of openness more than possible.

II.3 A Greater Role for Cultural Diplomacy by Simon Mark, Netherlands Institute of International Relations ‘Clingendael’, 2009.

72 P. Schneider, C. (2003). Diplomacy that Works: ‘Best Practices’ in Cultural Diplomacy (p. 3). Center for Arts and Culture. Retrieved from http://www.interarts.net/descargas/interarts645.pdf

In this journal article, Simon Mark defines cultural diplomacy as a ‘the deployment of a state’s culture in support of its foreign policy goals or diplomacy’73. Cultural diplomacy is regarded as components of public diplomacy, where public diplomacy itself is a government effort on communicating with foreign audiences to influence or shape their opinion. Which in this article it is believed to have the power to improve a country’s image and strengthen relations with other countries. This article believes that cultural diplomacy is seen as an effective type of diplomacy as it can reach both government and non-government audiences.

On its development, cultural diplomacy has gain a very low attention in both the study of international relations and diplomacy74. First, it is because diplomats pay a little attention to this field. Cultural diplomacy may be a lesser priority in the wide range of issues diplomats have to work in a shorter timeframe, limited budgets.75 The people, time, and financial resources that cultural diplomacy need are mostly unavailable. Second, it is kind of hard to determine the result of cultural diplomacy’s long-term impact on the audience’s behavior. Even though it is actually can be measured by several things like the number of people who attend a concert, the feedback of the audiences, and the media coverage.76 However, support coming from those who funded the cultural diplomacy like diplomats, politicians and treasury officials, is decreasing because a proof of the practice of cultural diplomacy on the audiences is hard to be identified. The last one is, there is an absence of clarity about what cultural diplomacy precisely entails. There is no agreement about cultural diplomacy by

73 Mark, S. (2009). A Greater Role for Cultural Diplomacy (p. 1). Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf 74 Mark, S. (2009). A Greater Role for Cultural Diplomacy. Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf 75 Ibid., Pg. 2 76 Ibid., Pg. 3

31 scholars, be it about its practices, objectives, activities, the practitioners, timeframe, and whether such practice is reciprocal or not.77

The purposes of cultural diplomacy are varies, which basically is all about fostering mutual understanding. Traditionally, cultural diplomacy will also fight ethnocentrism and stereotyping which at the end will lead to conflicts prevention.78 Meanwhile, written on this journal article the functional objectives of cultural diplomacy includes improving trade, interest in politics, diplomacy, and economy, as well as develop bilateral relations which covered and included economic, trade, politics, as well as culture and diplomatic elements.79 Not to be forgotten, it is also aims to connect with groups abroad like diaspora that are important to the practitioners of cultural diplomacy, as well as supporting the maintenance of bilateral relations when the time is tense. 80

The activities of cultural diplomacy then varies, as the culture itself is no longer refers to high culture which can only be enjoyed by elite intellectuals such as specific literature, visual arts, music, and another, but also popular culture that can attract mass audiences. Activities of cultural diplomacy ranges from concert, seminars, workshop, festival, exhibition, until scholarship programs and exchange of scholars and intellectuals. Such activities has involved a wide range of both participants and practitioners, such as artists, musicians, singers, even academics.

The practice of cultural diplomacy is believed to contribute on maintain a state’s profile, nation branding, developing core interest, connecting with both elite and mas, as well as diaspora audiences, and serve the opportunities on showing a culture for racial minorities and religious groups, as well as gives benefit for student to be able to

77 Ibid., Pg. 4 78 V. Mulcahy, K. (2010). Cultural Diplomacy in the Post-Cold War World. The Journal Of Arts Management, Law, And Society, 29(1). 79 Bound, K., Briggs, R., Holden, J., & Jones, S. (2007). Cultural Diplomacy (pp. 54-55). London: Demos. Retrieved from https://www.demos.co.uk/files/Cultural_diplomacy_-_web.pdf 80 Ibid.,

32 study overseas. However, to reach all of that a change on the conduct of diplomacy is needed. First, it has to be free from political pressure, a state must be able to show its ‘warts and all’ in order to eliminate the suspicious of people about the message that want to be sent, about the objectives of the conduct of diplomacy itself. The showing of culture should be pure and real, without filtering only particular culture that serve the government best on achieving their political goals. Second, cultural diplomacy of a state should reach its maximum potential of maintaining its image through nation branding. A cultural diplomacy of a state should let the state ‘walk the talk’ and let itself earn the image it desires. The strands of nation brand are tourism, business, investment, public diplomacy, and culture. Which in the context of culture itself, cultural diplomacy need to show its best, to shows it brilliance, vitality, and madness that needs a culture that is free, without any limitation to show.

‘Cultural diplomacy may be a sub category of the conventional practice of diplomacy, and a component of public diplomacy, but it is a practice that reflects the excitement, the power, the importance, and the pleasure of culture, enriching all parties that engage in it.’81

From this journal article, the writer can gain a deeper understanding about cultural diplomacy, its activities, objectives, audiences, practitioners, basically what cultural diplomacy entails. This journal article also justified the importance of cultural diplomacy and how it is actually exist for a greater role and potential. It is also give insight for the writer that in order to conduct an effective cultural diplomacy, with the limited time and budget, the government have to use the participation of non-state actors as well.

II.4 Cultural Diplomacy Harmonizing International Relations through Music, Mary Einbinder, (culturaldiplomacy.org), 2013.

81 Mark, S. (2009). A Greater Role for Cultural Diplomacy (p. 30). Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf

This article sticks to the definition of culture by Milton C. Cummings that defines culture as ‘the exchange of ideas, information, art and other aspects of culture among nations and their peoples in order to foster mutual understanding’.82 Einbinder then focused on the promotion of music in cultural diplomacy to improve intercultural communication, thus, fostering cooperation between the people of the world. Using constructivism theory, she believed that the international structure is able to be transformed by ideas, beliefs, thoughts, and discourse as it is socially constructed.83 The universal characteristic of music, its ability to express a deepest emotion of a human being, as well as to ability to transcend beyond boundaries of places and time, can generates ‘relations’ among people with different backgrounds and beliefs. Thus, this article argued that cultural diplomacy and such ‘relations’, have the ability to transform prejudice, mistrust, even more hatred, to curiosity, tolerance, and understanding.84

A justification of music that can become an effective tool to increase intercultural communication is coming from the former Secretary General of the United Nation, Kofi Annan in 2003,

‘…Music captures wide range of feelings, go to the essence of things and speak to the soul. It has the power to bind us together and strengthen our sense of community through shared emotions’.85

82 C. Cummings, M. (2003). Cultural Diplomacy and the United States Government: A Survey. Center for arts and culture. 83 Einbinder, M. (2013). Cultural Diplomacy Harmonizing International Relations through Music. Retrieved from http://www.culturaldiplomacy.org/pdf/case- studies/Cultural_Diplomacy_Harmonizing_International_Relations_through_Music_- _Mary_Einbinder.pdf 84 Ibid., Pg. 2 85 SECRETARY-GENERAL UNDERSCORES IMPORTANCE OF MUSIC TO HUMANKIND, AT CONCERT CELEBRATING UN DAY AND SWITZERLAND’S MEMBERSHIP | Meetings Coverage and Press Releases. (2003). Un.org. Retrieved 25 January 2018, from http://www.un.org/press/en/2003/sgsm8964rev1.doc.htm

Annan believed that in this world full of diversity, music can leaps across barriers that based on differences, and unite people from different background. Thus, through music, everyone can make the world a harmonious place.86

This article proposed music as a powerful tool for the basic of peacebuilding, as the impact given by music remains essential for community building and improving intercultural dialogue among people.87 When one understands the other one’s culture, beliefs, and interest, it can be seen as the first step towards improving international relations.88 However, the writer of this article also urged the importance of non-state actors in the conduct of cultural diplomacy, as what Villanueva Rivas stated, that a government and politics couldn’t be independently relied on for a stable world order, it also depends on the free cultural exchange among people.89 This article believed that cultural diplomacy is a ‘fundamental mechanism’ that connects cultures and promote its diversity. Therefore, the programs of cultural diplomacy should not only be limited to one way street, but to promote ‘listening to others, recognizing the values of cultures, showing a desire to learn from them, and conducting programs as a two-way street’.90 A cultural diplomacy initiative will only be able to reach its maximum potential if it is done based on a collaborative effort between actors, which not only government, but various non-state actors like international organizations, NGOs, even individuals.91

86 MUSIC UNITES PEOPLE OF DIFFERENT BACKGROUNDS, SECRETARY-GENERAL SAYS IN REMARKS INTRODUCING ‘WHY MUSIC MATTERS’ LECTURE | Meetings Coverage and Press Releases. (2004). Un.org. Retrieved 25 January 2018, from http://www.un.org/press/en/2004/sgsm9580.doc.htm 87 Einbinder, M. (2013). Cultural Diplomacy Harmonizing International Relations through Music. Retrieved from http://www.culturaldiplomacy.org/pdf/case- studies/Cultural_Diplomacy_Harmonizing_International_Relations_through_Music_- _Mary_Einbinder.pdf 88 Ibid., 89 Villanueva Rivas, C. (2007). Representing Cultural Diplomacy: Soft Power, Cosmopolitan Constructivism and Nation Branding in Mexico and Sweden. Växjö University Press. 90 Cultural Diplomacy The Linchpin of Public Diplomacy: Report of the Advisory Committee on Cultural Diplomacy. (2005). Retrieved from https://www.state.gov/documents/organization/54374.pdf 91 Einbinder, M. (2013). Cultural Diplomacy Harmonizing International Relations through Music. Retrieved from http://www.culturaldiplomacy.org/pdf/case- studies/Cultural_Diplomacy_Harmonizing_International_Relations_through_Music_- _Mary_Einbinder.pdf

Through this article, the writer can provide a strong justification that music can be perceived as a powerful tool in increasing mutual understanding. It is also providing a logical idea of the deployment of music through cultural diplomacy to harmonize international relations. This article also highlights the importance of involving non- state actors to avoid cultural diplomacy with a full political purpose, which at the end will most likely unsuccessful. It makes the writer of this thesis generates an understanding of even though the conduct of diplomacy will be impossible to not contained any political motives behind it, the practice should be done as pure and as clean as possible as it shall not misuse and exploit the power of art, especially music, to achieve a non-shared interest goals. Therefore, involving non-state actors like international organizations, NGOs, and individual is crucial to balance the conduct of cultural diplomacy.

II.5 Music – One of the Best Ambassadors of Cultural Diplomacy, Oana Lianu, Bulletin of the Transilvania University of Braşov – Supplement, 2016.

This journal article believed that music is a tool to generate one of the most important aspect in humanity, which is peace. Music offered a great opportunity to make countries to be able to show what they have best. Every societies and countries has been blessed by a musical heritage, and the music itself can strongly represent values of one’s culture. People do not have to be an expert of music nor a musician to be able to understand music, as music is believed to be able to overpassing any kind of boundaries, be it places, times, even people with different language and religion.92 This journal article believed that there is a relationship between music and politics. This can be seen as music is getting used as cultural diplomacy, also the presence of composers

92 Lianu, O. (2016). Music – one of the best ambassadors of Cultural diplomacy (p. 1). Bulletin of the Transilvania University of Braşov - Supplement. Retrieved from http://webbut.unitbv.ro/bulletin/Series%20VIII/Special%20Issue/19_Lianu%20Oana-corect.pdf

36 whose music is representing their political ideas, like Richard Wagner, Frederic Chopin, Ludwig van Beethoven, and many more.93

The contemporary international relations also shows how music is still continuously getting along with politics. An easy example provided in this journal article is a National Hym. How the name of countries are expressed not only by letters, but through sounds. Such thing makes countries through the sounds that expressed themselves which are through their national hymn are capable to be recognized.

This writer of this journal article also believed that music is perceived as a good method in increasing the cultural politics’ efficiency, as bilateral relations between countries can be more positive with the use of music. As the music itself is having a purpose in enriching cultural diplomacy, in creating a better conception of both ‘culture’ and ‘diplomacy’. Such thing is getting described by the writer of this journal by emphasizing on the diplomatic function of traditional music in cultural diplomacy. the traditional music, which has become an important component of the country’s culture, has the ability to attract foreign public and make them attracted to the nation.

II.6 Theorizing Diaspora and Music, Thomas Solomon, Urban People - Lide Mesta, 2015.

In this article, Thomas Solomon portrayed two approaches in the study of diaspora and music, namely ‘diaspora as social formation’ and ‘diaspora as metaphore’.94 Solomon firstly began the article by stating the diaspora has gained a lot of attention in the study of music since 1990s.95 In this article, Solomon highlighted that the study diaspora has shown how people and things are constantly moving around the globe.

93 Ibid., 94 Solomon, T. (2015). Theorizing Diaspora and Music. Urban People - Lide Mesta. Retrieved from http://lidemesta.cz/assets/media/files/17,%202015,%202/02_Solomon_w.pdf 95 Ibid.,

In the year of 1970, the price of plan tickets has started to be inexpensive, marking the increase of mobility of people. Then the development of communication took place, making communication through phone calls possible and play a crucial role in keeping dispersed social formations connected to one another and enable to maintain the sense of community. Such developments, are also enable the movement and the spread of creativity as well as performing artist, traveling to places where diasporic population is settling.96 In the approach of “diaspora as social formation”, music acts as the ‘glue’ to diasporic communities. Solomon outlines two aspects of music as a powerful tool for that lives out diasporic communities. First, the probability recorded sounds has enable music to travel to places, in the other side, diaspora that spread all around the globe is using this development of technology to engage in the same habit of the consumption of music. Second, music acts as a vehicle to create diasporic consciousness or the sense of belonging of the diasporic communities to their culture, it is what unites the dispersed people to one group.97

The second approach outlined by Solomon in this article regarding the study of diaspora and music, is “diaspora as methapor”. In this approach, Solomon expressed how music can fertile multivocality, as it allows people to give various meanings about music based on their own perspective. This approach refers that diaspora has a role in the global flow of music. That music is not diasporic, but peoples are. It is not music that moves from places to places and leave a footprint, but it is the people from different culture moving from one places to another one and bringing the ‘music’ itself and spread it to the world.

From this article, the writer can get a comprehensive understanding about the study of diaspora and music. How both of those things are interconnected and giving impact to one another. “Diaspora as methapor” justified the role that diaspora is indeed the one that enables the culture of one country to be known in another places, and diaspora is

96 Ibid., Pg. 205 97 Ibid., Pg. 206

38 the actor in the promotion, even though their main aims are only for their personal use, but somehow it also makes the surrounding also acknowledge the music of their culture. “Diaspora as social formation” shows how music is also playing a role in maintaining diasporic communities, as it fulfilled the sense of longing by diaspora on their shared-culture that ends up unites them.

II.7 Indonesian Angklung: Intersections of Music Education and Cultural Diplomacy, Meghan Hynson.

In this paper, it is believed that music and arts are often constitute a lot of American’s first experience with the culture of Indonesia. It can be in a variety of way how the American can participate and engage to Indonesian culture. Such thing has been perceived as a peaceful means of American to garner support for the country. Different with other scholarly works that mostly discuss about how arts can foster mutual understanding and bolster cultural relation among nations, this paper is discussing specifically about the development of music and art that actually becomes a gear that support the achievement of such purpose. It explored how the development of teaching Indonesian angklung has led to make this instrument an effective tool in music education and the country’s soft power cultural diplomacy.

This paper firstly discusses about cultural diplomacy and social healing. Media, arts, scholarship and politics become the most influential things on a country’s effort on making narratives about itself to foreign public.98 However, when such the system of information creates a negative image perceived in other’s public opinion, it is believed that it will arise such judgment, imbalance, differences, or social ‘disease’.99 Kevin Locke and Benjamin Koen then in the discourse of music therapy called a “social

98 Hynson, M. Indonesian Angklung: Intersections of Music Education and Cultural Diplomacy. academia.edu. Retrieved 25 January 2018, from https://www.academia.edu/29899495/Indonesian_Angklung_Intersections_of_Music_Education_and_ Cultural_Diplomacy 99 Ibid., Pg. 2

39 healing” to address such stereotypes and prejudice through music, which they believed the mutual recognition and understanding coming from music can promote harmony in a complex social spheres.100 Cultural diplomacy with its involvement and participation of various actors, also seen as an attempt to heal the social diseases. The objectives of fostering mutual understanding that will fight ethnocentrism, stereotypes, and prejudice through cultural products, including music, can represent the ‘social healing’ of Locke and Koen.101 A cultural diplomacy advocate Natalie Grincheva justified such use of art in cultural diplomacy as the visual and performing arts have the ability engage with citizens in a personal level rather than the political ones, therefore the cultural diplomacy programs among countries can become a powerful weapon in addressing stereotypes and negative perception.102 This article aimed to discuss how the development of angklung has make the angklung itself a suitable tool for Indonesia’s cultural diplomacy with those purposes.

This article observe about the pedagogical development of angklung that makes angklung a suitable and feasible tool for Indonesian cultural diplomacy. In the past, the sets of angklung were only tuned to a tritonic or tetratonic scale, the development of angklung then makes the set of angklung a diatonically tuned instrument. The diatonic angklung had continue lives together with the traditional Sundanese angklung, played together with various gamelan tradition, and other musical forms of the country.103 Such development of angklung has made angklung able to play variety of songs both the national and international ones which marked a greater opportunity for the promotion of angklung.

100 Locke, K., & D. Koen, B. (2011). The Lakota Hoop Dance as Medicine for Social Healing. Oxford University Press. 101 Ibid., 102 Hynson, M. Indonesian Angklung: Intersections of Music Education and Cultural Diplomacy. academia.edu. Retrieved 25 January 2018, from https://www.academia.edu/29899495/Indonesian_Angklung_Intersections_of_Music_Education_and_ Cultural_Diplomacy 103 Ibid.,

The writer observation was based on examining Saung Angklung Udjo (SAU), a cultural center whose specialty is in angklung that located in West Java, Indonesia, that successfully attract hundreds of student and tourist daily. The founder of SAU, Udjo Ngelana started from 1960s was becoming famous for promoting angklung abroad and introducing angklung to a lot of people in diplomatic events. Udjo was not only giving angklung performances, he would also teach the audience to play angklung The pedagogical developments of how angklung is being learned and performed in the SAU has gave birth to the idea of taking angklung in the world music classroom. As a music educator, the writer of this article had learn about diverse musical tradition and bring it on her classroom. She also acknowledge that sometimes economy dictates what music is taught, however, her experiences with angklung had gave the idea of angklung to be a valuable option to teach music from the country. The writer of this article have found that angklung is inexpensive, unlike other Indonesian musical instrument like gamelan. Aside of affordable, angklung is also lightweight, making angklung easy to be packed up and moved, and such thing is very suitable for general music classes, demonstrations, and the making of music community.104 To play angklung is also perceived as a good way in fostering group cohesion when it played in ensemble, the philosophy of angklung which requires discipline and team work to create harmony can increase relationship-building and trust as the writer of this article stated “Angklung also has the capacity to promote unity, togetherness, acceptance, and understanding among diverse group of people – a factor I believe positions angklung as one of the most useful Indonesian musical instruments for cultural diplomacy”.105 Overall, the writer of this article believes and propose that angklung through its pedagogical development is a noteworthy means of cultural diplomacy which can be utilized for both music education and community events.

104 Hynson, M. Indonesian Angklung: Intersections of Music Education and Cultural Diplomacy. academia.edu. Retrieved 25 January 2018, from https://www.academia.edu/29899495/Indonesian_Angklung_Intersections_of_Music_Education_and_ Cultural_Diplomacy 105 Ibid.,

From this article, the writer can get a deep understanding about the development of angklung, both of its development as musical instrument as well as the development of teaching the angklung itself. The writer also getting to know how angklung can be suitable and feasible tool to be used in Indonesian cultural diplomacy. This article also provide the same philosophy of angklung that the writer believed in, That it promotes togetherness.

CHAPTER III

Indonesia’s Cultural Diplomacy in the United States of America

Conducting diplomacy remains important as a state’s effort on maintain its relations with one another. The use of culture in diplomacy represent a different way on conducting diplomacy and absolutely gives different outcomes. Different with traditional diplomacy that only limited with state actors and focusing mostly to economic and political gains, modern diplomacy with the use of culture aims to foster mutual understanding with a positive image of the country as the expected outcomes, and making relations between states become more harmonious. Culture is believed to have the power of attraction that will trigger one to know and learn about a country’s culture and have a well understanding towards the country, having a positive opinion that will support the building of the country’s positive image, and support the relations between the country and the country of the targeted public to become more harmonious.

III.1 Bilateral Relations of Indonesia and the United States

Indonesia and United States have been in ongoing bilateral relations for years. U.S was one of the first countries to recognize Indonesia’s independence and one of the first countries that established diplomatic relations with Indonesia after it gained its independence. The official diplomatic relations of Indonesia and U.S was firstly established when embassies were opened in each of both countries in the year of 1949 – 1950.106 Since then, both countries are engaging in various cooperation aiming to

106 Bilateral Relations – Embassy of the Republic of Indonesia | Washington D.C.. Embassyofindonesia.org. Retrieved 25 January 2018, from https://www.embassyofindonesia.org/index.php/bilateral-relations/

43 achieve both the collective goals and the goals of their own. Up to this date, both countries are cooperating in various sectors, such as politics, defense, security, trade, investment, tourism, development, energy, environment, food security, marine, and education.107 Indonesia and the United States are one of the world’s largest democratic countries. Sharing the same background, each of them assumed their counterparts to be strategically important for one another. According to U.S.-Global Leadership Report What People Worldwide Think of U.S Leadership, a survey done by Gallup in 2014, 29% of Indonesian approved of U.S leadership and seen it to be favorable, meanwhile 25% disapproved and 46% voted for having no idea or refused.108

In maintaining deep and favorable bilateral relations, both Indonesia and United States did not forget to put attention in the field of culture. As through understanding the culture of one another, the relations between both countries is expected to become more harmonious. Therefore, culture will always be one of the instrument that is being used by both countries in conducting diplomacy. Both United States and Indonesia, are actively promoting their culture, and it had been done through various of ways, be it the one that had been done officially by government, or voluntarily done by the people of both countries.

Looking back to history, the United States seems to be aware of the power of culture to become a weapon or instrument to conduct the country’s diplomacy. This can be seen by looking at the era of Cold War, when U.S was using the music of jazz, by sending its best jazz artist as ambassadors to promote the country, giving birth to the term jazz diplomacy, believing that such musical method can win the heart and mind of the people and transcend it to economic and strategic priorities.109 The use of culture and art, did not only stop there, up to this date, the United States is still actively using

107 Ibid., 108 The U.S Leadership Report. What People. Worldwide Think of. U.S. Leadership.. (2015). Retrieved from http://www.meridian.org/wp- content/uploads/2015/07/US_Global_Leadership_Report_05_15_2015.pdf 109 E. Davenport, L. (2009). Jazz Diplomacy: Promoting America in the Cold War Era. University Press of Mississippi.

44 music as one of its effective tools. For example, the U.S Department of State’s Bureau of Educational and Cultural Affairs, in collaboration with University of North Carolina has been conducting a program called Next Level Program, that promotes cultural exchange as well as a mean of conflict resolution that is using the American hip hop music and dance.110 Through those kind of effort in promoting the country’s culture, the culture of the U.S has been admired by people from many countries all over the world, and Indonesia is not an exception.

In Indonesia, American culture is also welcomed and well-perceived since a long time ago. For example, the American popular culture of ‘Hollywood’, the songs, the movies, has been very long known and enjoyed by Indonesian people and published in Indonesian market. The Embassy of United States of America in Indonesia has also promoted the country’s culture in a more official way. For example, is through establishing a cultural center named ‘@America’, which provide information about American culture and technology, that gives visitors a chance to experience America’s ideals, creativity, and diversity, and express their opinion and thoughts about America.111

III.2 Indonesia’s Cultural Diplomacy in the United States of America

Indonesia as a country is not only recognizing the concept of cultural diplomacy, but also conducting the concept as well. Indonesia has actively put efforts on promoting the country’s culture in formal way by the government, the informal ones with Indonesian people without any governmental interference, or the combination between the government and the people. Various manifestation of Indonesian culture had been introduced and promoted to the United States starting from arts, food, until education under the conduct of cultural diplomacy. The promotion of Indonesian culture in the

110 About | Next Level. Next Level. Retrieved 25 January 2018, from http://nextlevel-usa.org/about/ 111 @america | U.S. Embassy & Consulates in Indonesia. U.S. Embassy & Consulates in Indonesia. Retrieved 25 January 2018, from https://id.usembassy.gov/education-culture/america/

United States is expected to be able to make the Americans see Indonesia positively by knowing and understanding the culture of the country. Such thing will support on maintaining the bilateral relations between the countries to stay harmonious and bringing more benefit from time to time, as the relations between both countries is not merely conducted as both governments wanted to gain their own or shared interest, but also supported by the public of the countries.

Indonesian government is very active in terms of promoting the country’s culture in the United States through various events as well as doing collaborations with a lot of parties, like Indonesian Diaspora, local cultural organizations, and even educational institutions. The culture that being promoted is not only one specific cultural products, but varies. One of the most often promoted ones are those that had been officially declared by The United Nations Educational, Scientific and Cultural Organization (UNESCO) like Batik, Wayang, Gamelan, and Angklung. Aside of cultural products related to art, Indonesia’s culture in the United States is also promoted through food and cuisine.

III.2 Batik

Since its official declaration as Masterpiece of Oral and Intangible Heritage of Humanity by UNESCO in 2009, the government of Indonesia’s promotion of batik then became more advanced. According to UNESCO, Indonesian batik refers to “techniques, symbolism, and culture surrounding hand-dyed cotton and silk garments”112 On the World Batik Summit 2011, Susilo Bambang Yudhoyono, Indonesian President at that time, stated batik as Indonesia’s identity which can be used as an instrument of diplomacy.113 Since its official declaration by UNESCO,

112 Indonesian Batik - intangible heritage - Culture Sector - UNESCO. Ich.unesco.org. Retrieved 25 January 2018, from https://ich.unesco.org/en/RL/indonesian-batik-00170 113 Nahaba, B. (2011). Batik Sarana Diplomasi Indonesia di Pentas Dunia. VOA Indonesia. Retrieved 21 January 2018, from https://www.voaindonesia.com/a/batik-sarana-diplomasi-indonesia-di-pentas- dunia-130932978/98880.html

Indonesian government is actively promoting batik to the world, and U.S is one of the main targeted countries. In the United States the effort on promoting batik varies, from conducting workshop, holding batik competitions, until promoting batik to children from school to school. An example can be taken from Indonesian Embassy in Washington DC collaboration with Rumah Indonesia to conduct a program called Batik Goes to School to promote Indonesian batik to various schools in the country by conducting workshops.114

Rumah Indonesia itself is an organization made by groups of Indonesian people who are willingly promotes the country’s culture, upholding a motto of “You Can Take Me Out of Indonesia, But You Can’t Take Indonesia Out of me”.115 Not only working together with Indonesian diaspora or cultural groups, Indonesian Embassy also works together other culture or educational institutions from United States. For example, in 2017 Indonesian Embassy held a workshop on how to make batik and lecture and fashion show in Textile Museum together with Rumah Indonesia, Kid Museum, and George Washington University.116 From such thing, the conduct of Indonesian cultural diplomacy will have a broader audience as the parties involved are also varied from different fields and levels, the effect is also expected to be bigger.

The promotion of Indonesian batik has generates admirations towards that cultural product, this can be seen to the growing demand of batik in the United States. According to a report from Indonesian Ministry of Trade, United States has dominate Indonesian market for batik export as it had dominated up to 42,97% of the total of Indonesian batik export worldwide.117 The Director General of National Export

114 Informational Interview with Education and Cultural Attaché of Indonesian Embassy in Washington DC. (2017). Email. 115 Prasetyo, H. (2014). Mengenal Lebih Dekat Rumah Indonesia di Amerika Serikat. Kabari News. Retrieved 21 January 2018, from http://kabarinews.com/aku-cinta-indonesia-mengenal-lebih-dekat- rumah-indonesia-di-amerika-serikat/66023 116 Informational Interview with Education and Cultural Attaché of Indonesian Embassy in Washington DC. (2017). Email. 117 Gatranews - Sekitar 42% Produksi Batik Indonesia Diekspor ke Amerika Serikat. (2014). Gatra.com. Retrieved 25 January 2018, from https://www.gatra.com/ekonomi-1/72205- sekitar-42-produksi-batik-indonesia-diekspor-ke-as.html

Development at the Indonesian Ministry of Trade, Nus Nuzulia Isaac, the United States is Indonesian batik most important export market, whose value on batik export has significantly and continuously increasing from USD $22 million in 2010 to USD $340 million in 2014.118 The admiration of Americans to Indonesian batik can also be seen through the enthusiasm of Americans to join Batik-related events, for example theAmerican Batik Design Competition, which has been held in 2011 and 2013, which were joined by American artists, students, and even professors.119

III.3 Wayang and Gamelan

Aside of batik which already had a lot of admires in the United States, Indonesian government also actively promotes another product of Indonesian culture, for example, Wayang and Gamelan which often played and performed all together. Wayang has been officially declared by UNESCO to be on the Representative List of the Intangible Cultural Heritage of Humanity in November 2003.120 A Wayang puppet theatre refers to an ancient storytelling show which was originally coming from Java, one of Indonesia’s largest islands.121 Wayang puppet theater is famously known for its unique handcraft puppets and complex music styles as the background of the storytelling. A Wayang puppet theatre will be led by the story teller known as ‘dalang’, which accompanied also by singer and musicians playing Indonesian traditional musical instrument like Gamelan.122 The whole action of Wayang puppet theater is getting admired by the Americans as is enjoyed by both adults and children for its uniqueness.

118 Investments, I. (2015). Gelar Batik Nusantara 2015: Indonesian Batik Popular in the USA | Indonesia Investments. Indonesia-investments.com. Retrieved 22 December 2017, from https://www.indonesia-investments.com/news/todays-headlines/gelar-batik-nusantara-2015- indonesian-batik-popular-in-the-usa/item5677? 119 American artist, student and professor win batik designing competition. (2013). The Jakarta Post. Retrieved 22 December 2017, from http://www.thejakartapost.com/news/2013/10/31/american-artist- student-and-professor-win-batik-designing-competition.html 120 Wayang puppet theatre - intangible heritage - Culture Sector - UNESCO. Ich.unesco.org. Retrieved 25 January 2018, from https://ich.unesco.org/en/RL/wayang-puppet-theatre-00063 121 Wayang puppet theatre - intangible heritage - Culture Sector - UNESCO. Ich.unesco.org. Retrieved 25 January 2018, from https://ich.unesco.org/en/RL/wayang-puppet-theatre-00063 122 Ibid.,

‘Wayang Kulit’, one of the Indonesia’s famous type of Wayang, is very popular in the United States known as “The Shadow Puppets Play”.123 Countless Wayang puppet shows have taken place in the land of the United States, Wayang then become one of Indonesian most known culture in the country. The Indonesian Embassy in Washington D.C, so does any Indonesian representative in the whole United States are actively conducting cultural events to promote Indonesian culture in the country, and Wayang always become one of the main culture to be presented and promoted.124

Not working alone, in the effort on promoting Wayang, Indonesian government in the United States also works together with several local Indonesian cultural groups, as well as educational and cultural institution in the country. which all of them all together working to conduct shows and exhibition. For example, Indonesian Embassy in the Washington D.C working together with Raga Kusuma Gamelan Community led by Andy McGraw from Richmond University, whose half of the members are non- Indonesian, was conducting a Balinese Wayang Kulit performance in Kennedy Center on October 2017, with the aims of promoting the country’s qualified culture to the Americans.125 In the previous year, precisely in November 2016 Indonesian Embassy together with Rumah Indonesia and Smithsonian Museum George Washington University conduct a workshop of drawing Wayang, with children and family as their targeted audience. According to Indonesian Education and Cultural Attache in Indonesian Embassy Washington DC, Ismunandar, the outcome from the event was beyond expectations, as the participation was beyond the capacity of the event.126 One of the remarkable activity to promote Indonesian culture in the United States is through the largest and the most completed Wayang collection donation to Yale University in

123 Pagelaran wayang dan gamelan kontemporer pukau masyarakat Amerika. (2017). Antara News. Retrieved 25 January 2018, from https://www.antaranews.com/berita/627129/pagelaran-wayang-dan- gamelan-kontemporer-pukau-masyarakat-amerika 124 Ibid., 125 Promosi Wayang Bali di Kennedy Center. (2017). Retrieved 25 January 2018, from https://ristekdikti.go.id/promosi-wayang-bali-di-kennedy-center/ 126 Informational Interview with Education and Cultural Attaché of Indonesian Embassy in Washington DC. (2017). Email.

2017. A collection with more than 20.000 Wayang puppets, 166 complete sets of Wayang from Java, Bali, and Lombok consisting of Wayang Kulit, Wayang Golek, and Wayang Klitik is given to the Art Gallery Yale University which can be used to tell a full narration stories like Ramayana and Mahabharata.127

III.4 Cuisine

As Indonesian culture is very rich and not only limited to art, Indonesian culture is also known by the food in the United States. Indonesian cuisine is known for its intense flavor and assumed to be very vibrant as well as colorful.128 In 2011, a polling run by CNN International on “World’s 50 Most Delicious Foods” listed three of Indonesian food on the list, which are Rendang in the first place, Nasi Goreng in the second place, followed by Satay in the fourteenth place. In the United States, Indonesian government is actively promoting Indonesian culture through cuisines by conducting various exhibitions, festivals, which enable Americans to not only know Indonesian cuisine, but also have a taste on that. Aside of government, Indonesian people located in the United States also promote Indonesian food. This can be seen from various Indonesian culinary business in the state. From restaurant to food truck, Indonesian food can be found in a lot of cities in the United States. For example, Oscar Setiawan, an Indonesian, is the owner of Indonesian restaurant named “Rickshaw Republic” in Chicago.129 Oscar stated that aims of establishing this restaurant is not only to serve Indonesian food, but to showcase Indonesian wealth to the customers and guest, making them able to have the ‘taste’ of Indonesia in Chicago.130 The restaurant gained a lot of admiration leading to customers’ demand to open another branch.131 A little

127 Ibid., 128 About Indonesian food. (2015). Retrieved 25 January 2018, from https://www.sbs.com.au/food/article/2008/07/01/about-indonesian-food 129 Iman Santoso, N., & Budianto, A. (2017). Rickshaw Republic, Restoran Indonesia di Chicago. VOA Indonesia. Retrieved 25 January 2018, from https://www.voaindonesia.com/a/rickshaw-republic-restoran-indonesia-di-chicago/3847985.html 130 Ibid., 131 Ibid.,

50 different with Rickshaw Republic, Gowes Food Truck is a different type of Indonesian culinary business made by a group of Indonesian people in Los Angeles and carrying a simpler concept.132 Aside of serving Indonesian food the locals as a mean of promotion, since it comes with a more affordable price, Gowes Food Truck has also become the destination for Indonesian people to eat authentic Indonesian food daily.133

132 Gowess Food Truck Sajikan Makanan Indonesia di Los Angeles. (2015). VOA Indonesia. Retrieved 25 January 2018, from https://www.voaindonesia.com/a/gowess-food-truck-sajikan-makanan- indonesia-di-los-angeles/2726627.html 133 Ibid.,

CHAPTER IV

Discovering Hidden Potential Behind the Combination of Diaspora and Music to enhance Indonesia’s Cultural Diplomacy

IV.1 The Role of Indonesian Diaspora in Cultural Diplomacy

It is believed that the term ‘diaspora’ was coming from the verb of Greek, diaspeirō that means ‘scattering’.134 Thucydides offer an example of diaspora on his book “History of the Peloponnesian Wars” through the exile of Messenians under Spartan rule and the Ageanites.135 The term diaspora is also believed to be firstly developed since the Hebrew Bible was finally translated into Greek that refers diaspora as the Northern Kingdom exile by Assyrians and Jews from Southern Kingdom.136 The word ‘diaspora’ without capital in English refers to the meaning of refugee or immigrants that leaves from an ancestral homeland.137 According to Dovelyn Rannveig Agunias and Kathleen Newland in their books “Developing a Road Map for Engaging Diasporas in Development: A Handbook for Policymakers and Practitioners in Home and Host Countries” defined diaspora as “Emigrants and their descendants, who live outside the country of their birth or ancestry, either on a temporary or permanent basis, yet still maintain affective and material ties to their countries of origin”.138

134 George Liddel, H., & Scott, R. Henry George Liddell, Robert Scott, A Greek-English Lexicon,διασπορ-ά. Perseus.tufts.edu. Retrieved 20 January 2018, from http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0057:entry=diaspora/ 135 Hobbes, T., & Grene, D. (1989). The Peloponnesian War. Chicago: University of Chicago. 136 Ibid., 137 Definition of DIASPORA. Merriam-webster.com. Retrieved 20 January 2018, from https://www.merriam-webster.com/dictionary/diaspora 138 Agunias, D. R., & Newland, K. (2012). Developing a Road Map for Engaging Diasporas in Development: A Handbook for Policymakers and Practitioners in Home and Host Countries. International Organization for Migration.

As time goes by the diaspora phenomenon is developing and even have the study of their own. In the era of globalization, countries are now recognizing and acknowledge the existence of diaspora, some will even utilize it as the supporter of the country’s conduct of diplomacy. Indonesia, is one of the example.

Former Indonesian Ambassador to the United States, as well as the initiator of “Indonesian Diaspora Networks” Dr. Dino Patti Djalal, the term Indonesian Diaspora refers to the Indonesian people who live abroad and can be classified into four groups. First, Indonesian citizen living in other countries and still using Indonesian passport. Second, Indonesian people who already become foreign citizen because of the naturalization process and having no Indonesian passport. Third, foreign citizens who have Indonesian ancestors. The last, foreign citizen who do not even have affinity of Indonesia ancestors but having a huge interest towards the country.139

Indonesia as a country is having a huge appreciation towards diaspora, even the government has its own expectation of diaspora involvement in supporting the country. Indonesian Minister of Foreign Affairs, Retno L.P Marusdi expressed that Indonesian President Joko Widodo expects Indonesian Diaspora to be able to support the government in improving the country’s economy, by not only increasing export, but also attracting foreign investment.140 Former Director of Public Diplomacy of Indonesian Ministry of Foreign Affairs Al Busyra Basnur, outlines several of the country’s foreign policy priorities. The priorities are maintaining the unity of the Republic of Indonesia, protecting Indonesian citizens and Indonesian law agency, improving economic diplomacy, and improving Indonesian roles both regionally and internationally.141 Empowerment of Indonesian Diaspora is also being done to achieve

139 About Diaspora ~ Diaspora Indonesia Network. Diasporaindonesia.org. Retrieved 20 January 2018, from http://www.diasporaindonesia.org/index.php/about/diaspora 140 Indonesian diaspora can help boost exports, foreign investment: Jokowi. (2017). The Jakarta Post. Retrieved 20 January 2018, from http://www.thejakartapost.com/travel/2017/07/04/indonesian- diaspora-can-help-boost-exports-foreign-investment-jokowi.html 141 Busyra Basnur, A. (2017). Pemberdayaan Masyarakat Indonesia di Luar Negeri untuk Kepentingan Nasional. kemlu.go.id. Retrieved from https://www.kemlu.go.id/id/lembar-

53 those priorities of foreign policy, which are through the involvement of Indonesian Diaspora in multitrack diplomacy, the effort of changing brain drained to brain gained, improving Indonesian competitiveness in global level, Indonesian diaspora as the government partners and marketing agents of Indonesia, supporting the country in the acceleration of national development and efforts to improve the welfare of Indonesian citizens.142 Precisely, Indonesian government expect the contribution of Indonesian diaspora on the national development through several points which are through economic, maritime, and cultural diplomacy, promotion of Indonesian image abroad, protecting the unity of the country, supporting the protection of vulnerable Indonesian abroad, helping Indonesian whose rights are neglected, building love for the country for those who are abroad, supporting Indonesian people abroad to have potential expertise in various fields that will help on supporting national development.143

According to General Election Commissions, the number of Indonesian aggregate abroad is about 4.694.484 people or as the same amount of 1,86% of Indonesian population, however, the estimated number of Indonesian Diaspora is believed to be about 6 million people.144 As a serious effort to maintain Indonesian Diaspora, Indonesian government through the Ministry of Foreign Affairs has inaugurated a socio-culture and Indonesian Diaspora empowerment expert staff in echelon 1 to handle Indonesian Diaspora in 18th of March 2016, and starting from 1st January 2017 a unit in the stage of echelon 3 in Public Diplomacy Directorate of Ministry of Foreign Affairs to handle the empowerment of Indonesian Diaspora.145

informasi/Documents/Paparan%20Direktur%20Diplik%20- %20Forum%20Bakohumas%20Tematik%20Kemlu%202017.pdf 142 Busyra Basnur, A. (2017). Pemberdayaan Masyarakat Indonesia di Luar Negeri untuk Kepentingan Nasional. kemlu.go.id. Retrieved from https://www.kemlu.go.id/id/lembar- informasi/Documents/Paparan%20Direktur%20Diplik%20- %20Forum%20Bakohumas%20Tematik%20Kemlu%202017.pdf 143 Ibid., 144 Ibid., 145 Ibid.,

According to Director of Public Diplomacy of Indonesian Ministry of Foreign Affairs, Azis Nurwahyudi, diaspora act as the spearheads of Indonesia’s diplomacy, and assumed as working partners for diplomats.146 Especially in public diplomacy, as public diplomacy enables the public to be involved, diaspora’s role become more meaningful. In terms of cultural diplomacy, Azis Nurwahyudi stated that it sounds impossible if the diplomats are to be the one that dance and play music as not all diplomats have the ability to do such a thing, meanwhile diaspora can take this role to present directly the culture of Indonesia in various programs of cultural diplomacy, as many Indonesian diaspora are experts in dancing, singing, fashion, and other things.147

Dino Patti Djalal, who is known as the “Father of Indonesian Diaspora” as he was the initiator of Congress of Indonesian Diaspora initiative that was held for the first time in Los Angeles,148 stated that diaspora is having a very important role to the country’s cultural diplomacy. According to Dino Patti Djalal, many of Indonesian Diaspora knows the culture better, as before they arrive to the host country a lot of them have already learned about Indonesian dance and music, therefore whenever embassy has an event, the diaspora will always be ready to perform.149 When Dino Patti Djalal was still becoming the Indonesian Ambassador in the United States, there are a lot of clubs working in various field of Indonesian culture, like Silat, Angklung, Jaipongan, Ludruk, and another, and those clubs are always giving a crucial contribution to the conduct of the country’s cultural diplomacy.150 Indonesian government has given a huge appreciation to the involvement and contribution of Indonesian diaspora in the country’s diplomacy, as well as national development. However, when being asked,

146 Nurwahyudi, A. (2018). Informational Interview with Director of Public Diplomacy of Ministry of Foreign Affairs of the Republic of Indonesia. Ministry of Foreign Affairs of the Republic of Indonesia. 147 Ibid., 148 Sugiarta, T. (2013). Dino Patti Djalal: Diaspora Network is a Source of Strength and Opportunites | GIV - Indonesian Perspective to Global Audience. Global Indonesian Voices - GIV. Retrieved 29 January 2018, from http://www.globalindonesianvoices.com/9456/dino-patti-djalal-interview- diaspora-network/ 149 Nurwahyudi, A. (2018). Informational Interview with Director of Public Diplomacy of Ministry of Foreign Affairs of the Republic of Indonesia. Ministry of Foreign Affairs of the Republic of Indonesia 150 Patti Djalal, D. (2018). Informationional Interview with Dino Patti DJalal. FPCI office Jakarta.

55 based on his opinion, Dino Patti Djalal stated that the government has not maximally used all the potential of Indonesian Diaspora for the purpose of diplomacy. As now the government has just started to have a unit in echelon 3 level for diaspora, and he thinks that the government can do a lot better. Dino Patti Djalal suggest that it will be much better if diaspora is being handled in a Directorate General (echelon 1) level, with more budget and more programs to engage the diaspora abroad, because the current budget with only about IDR 2 billion is impossible to handle the 6 million Indonesian diaspora abroad.151 Dino Patti Djalal also expressed that there are a lot of Indonesian Diaspora groups abroad, and the government have to connect the dots and manage all of them to be able to maximally use their potentials.

Meanwhile according to Aziz Nurwahyudi as the Director of Public Diplomacy in the Ministry of Foreign Affairs, to specifically make an echelon 1 level unit for diaspora is still cannot be done, since the Government Regulation or Constitutions or Presidential Decree about diaspora has not yet complete.152 Aside of that the Ministry of Foreign Affairs is still having a homework before being able to conduct an echelon 1 level unit to handle diaspora, which is about the Kartu Masyarakat Indonesia di Luar Negeri (KMILN). The Ministry of Foreign Affairs has instructed all the diaspora abroad to make KMILN or also known as a diaspora card. The functions of KMILN is to be an ID card for Indonesian people abroad, as a tool to map the potential and networks of Indonesian society abroad for the purpose of national interest, as well as the recognition of Indonesian people’s existence abroad. Together with other Ministries in Indonesia, the Ministry of Foreign Affairs aims that the card will bring benefit when diaspora visit the country, however, such thing has not yet been integrated. Therefore, it is still becoming a homework for the government before being able to maximally achieve the empowerment of diaspora which in this case, is making a Directorate General or echelon 1 level unit.

151 Patti Djalal, D. (2018). Informationional Interview with Dino Patti DJalal. FPCI office Jakarta. 152 Nurwahyudi, A. (2018). Informational Interview with Director of Public Diplomacy of Ministry of Foreign Affairs of the Republic of Indonesia. Ministry of Foreign Affairs of the Republic of Indonesia

Despite all the limitations of efforts for diaspora empowerment, Indonesian diaspora this far have been giving a remarkable contribution to the country’s diplomacy, especially in the conduct of cultural diplomacy. Based on the experience of Indonesian diplomats, it can be seen that diaspora works as a partner for them, and many of them are even having a better understanding towards the country’s culture. It can be seen through various involvement of Indonesian diaspora in promoting the country’s culture.

IV.2 Music in Indonesian Cultural Diplomacy

Tracing back to history, no matter how pure one can define what music is, it will be impossible to say that music might not have any political dimensions when it is being used as a tool to achieve a political agenda. A lecturer of contemporary history in Université de Versailles-St-Quentin, Anaïs Fléchet, tries to recall several remarkable use of music in international relations, starting from U.S Department use of jazz ambassadors to promote the image of the free world abroad by its pluralistic values, to the collaboration between Gilberto Gil, former Brazilian Minister of Culture and former United Nations Secretary General, Kofi Annan, in honor of the victims of Baghdad UN Headquarters bombing in 2003. Fléchet refers to the performance as “highly symbolic image, which highlighted the conviction that culture can play a role in bringing people together, shows how music can become a political language”.153

Music will always be at the core of every culture in this world, and a value of a state’s culture can always be represented strongly through music.154 As what Kofi Annan said in the introductory remarks of a lecture titled “Why Music Matters” by Professor Leon Botstein in New York 2004, “In a world of diversity where often values clash, music

153 Zawisza, M. (2015). How music is the real language of political diplomacy. the Guardian. Retrieved 21 January 2018, from https://www.theguardian.com/music/2015/oct/31/music-language- human-rights-political-diplomacy 154 LIANU, O. (2016). Music – one of the best ambassadors of Cultural diplomacy. Bulletin Of The Transilvania University Of Braşov - Supplement, 9 (58)(2). Retrieved from http://webbut.unitbv.ro/bulletin/Series%20VIII/Special%20Issue/19_Lianu%20Oana-corect.pdf

57 leaps across language barriers and unites people of quite different cultural backgrounds. And so, through music, all peoples can come together to make the world a more harmonious place.”155 Music indeed has the ability to do such things, it transcends beyond boundaries of time and places, it does not need people to be able to play the instrument that produce music to understand it, and people with one specific background to understand it. Music exist for all, and by all it means for every human being in this world regardless of their race, religion, ethnic, or cultural background.

As music is assumed to be at the core of every culture in the world, many states are now well aware to use music as an instrument to conduct the country’s diplomacy. Especially in terms of public diplomacy, where the main aim is to win the hearts and minds of the people. Indonesia is one of the country that actively use culture as one of the instrument in public diplomacy as a mean to win the hearts and mind of the people. Music is also getting used as a tool to conduct the diplomacy, precisely in the conduct of cultural diplomacy. According to Director of Public Diplomacy of Indonesian Ministry of Foreign Affairs, Azis Nurwahyudi, music is an asset for a country’s diplomacy. Based on his experience, Azis Nurwahyudi stated that musical programs as a mean to promote the country’s culture is always in great demand. Countless of concerts and shows have been done in a lot of countries by the government to promote the culture of the country through music. From angklung to Jazz, the music that has shown Indonesian culture abroad had stolen the hearts of people all around the world. From playing ‘New York New York’ with angklung by the angklung Hamburg Orchestra that generates thousands of Euros for charity, to playing ‘Pasar Klewer’ that was played beautifully in jazz by Dwiki Dharmawan, music is not only presenting the unique culture of Indonesia, but also helping on building the positive image of the

155 MUSIC UNITES PEOPLE OF DIFFERENT BACKGROUNDS, SECRETARY-GENERAL SAYS IN REMARKS INTRODUCING ‘WHY MUSIC MATTERS’ LECTURE | Meetings Coverage and Press Releases. (2004). Un.org. Retrieved 21 January 2018, from http://www.un.org/press/en/2004/sgsm9580.doc.htm

58 country that it is indeed a country full of tolerance, moderate, and upholds the value of equality and democracy.

There is indeed no specific regulation that sets out the utilizations of culture, or precisely music, in the conduct of Indonesia’s diplomacy. There is also no specific budget located specifically for the conduct of cultural diplomacy. However, the government is in fact continuous promote the country’s culture in the practice of diplomacy. Based on the statement by Aziz Nurwahyudi as the Director of Public Diplomacy in the Ministry of Foreign Affairs, about 25% of budget given to Directorate General of Information and Public Diplomacy is allocated to Directorate of Public Diplomacy, and to know that how much budget goes to cultural program is very hard to be explained quantitatively. Aziz Nurwahyudi stated that “in Directorate of Public Diplomacy, we are very fluid. We cannot divide as much as this for culture, as much of this for economy, because everything is interconnected and completing one another.”156 Aziz Nurwahyudi also explained that the budget is very tight, and somehow deficient, because when it comes to culture and art, the government wants to show the best.157 Aziz Nurwahyudi also stated that when it comes to budget, many brilliant ideas are failed to be realized because it has to be adapted with the budget in reality.158 Directorate of Public Diplomacy under the lead of Azis Nurwahyudi is currently developing the use of Music, Film, and Fashion in the conduct of Indonesia’s public diplomacy. Azis Nurwahyudi himself believed music is something that characterize the nation, he also believed that music is indeed has the ability to be a weapon to win the heart and mind of the people and hence, is one of the top asset for the country’s diplomacy that will always be used and developed.159

156 Nurwahyudi, A. (2018). Informational Interview with Director of Public Diplomacy of Ministry of Foreign Affairs of the Republic of Indonesia. Ministry of Foreign Affairs of the Republic of Indonesia 157 Ibid., 158 Ibid., 159 Ibid.,

IV.3 The use of Angklung in Indonesian Cultural Diplomacy to the United States of America

In 18th of November 2010, UNESCO has officially declared angklung as a Masterpiece of Oral and Intangible Heritage of Humanity.160 Indonesian government has actively use angklung to promote Indonesian culture all around the world. One of the most remarkable and extraordinary work of promoting Indonesian culture through angklung is the first world record breaking angklung ensamble that took place in Washington DC, in July 2011 consisting of 5,182 of people with different nationality playing angklung all together.161 The initiator of the event, the Indonesian Ambassador to the United States ON that time, Dino Patti Djalal, stated that the conduct of the world breaking record angklung ensamble is to promote Indonesian culture, concerning on the political and economic elites in the country, as a lot of the participants are congress and corporate people, aiming that those people will remember Indonesian culture all their lives.162 The outcome of the event was it is certified by Guinness World Records to be the largest angklung ensamble to be held in the world, it is also makes people remember the country, especially the political and economic elite who were became the main targeted audience of the event. Dino Patti Djalal stated that they were all remember Indonesia as they were given a piece of angklung.

Aside of its beautiful sound, angklung has the specific plus point when it comes to its utilization on the conduct of Indonesia’s cultural diplomacy. Despite it reflects the country’s motto of Bhinneka Tunggal Ika, according to Dino Patti Djalal, angklung is

160 Wonderful Indonesia - Angklung : Harmony in a Bamboo Orchestra. Web.archive.org. Retrieved 25 January 2018, from https://web.archive.org/web/20140928195329/http://indonesia.travel/en/destination/596/saung- angklung-udjo-village-nature-and-culture-in-perfect-harmony/article/89/angklung-harmony-in-a- bamboo-orchestra 161Angklung World Record. (2018). House of Angklung Washington DC. Retrieved 21 January 2018, from http://www.houseofangklung.com/angklung-world-record.html 162 Patti Djalal, D. (2018). Informationional Interview with Dino Patti DJalal. FPCI office Jakarta.

60 the easiest instrument to trained people. It only takes 10 minutes to teach people how to learn angklung until they can be united to play a harmony for a song. Meanwhile, it is impossible to train people that easily in the short amount of time to play gamelan, or draw batik, or even Jaipong dance and Pencak Silat. The Director of Public Diplomacy of Indonesian Ministry of Foreign Affairs Aziz Nurwahyudi, stated that angklung is a very authentic and iconic instrument of the country, as Indonesia is the only country that produce that bamboo-based musical instrument. Even China, the country which is known as “Bamboo curtain country” or a country which famously known because of bamboo, did not even produce angklung.

The promotion of angklung is still very active in the United States. This can be seen from the various of programs conducted by the Indonesian government in the United States. The Education and Cultural Attaché of Indonesian Embassy in Washington DC, Ismunandar, stated that music if a part of Indonesian cultural diplomacy (soft diplomacy) that is being used in the United States, through the conduct of soft diplomacy the government can engage to the public better. The Indonesian Embassy in the United States is actively use angklung as well as doing collaborations with Diaspora. 2017 marked a very fruitful year for the promotion of angklung in the United States. According to Ismunandar, the promotion of Indonesian culture with angklung is continuously being implemented, especially through schools and universities as well as events conducted for U.S community in general.

In terms of University, the first initiation started from Yale University in New Haven, the program started with angklung workshop for students who are learning Bahasa Indonesia, it also led to the performance of those students in the “South Asian Spring Festival” in 8th of March 2017.163 Aside of that, an interactive angklung performance also being held in the “Washington International Education Conference”, participated by hundreds of lecturer and staff in international divisions from various university in

163 Informational Interview with Education and Cultural Attaché of Indonesian Embassy in Washington DC. (2017). Email

United States. In 8th of May 2017, House of Angklung was invited by the DC Mayor Office in “Asian American and Pacific Islander Heritage Month Celebration”. 164In the 26th of May 2017, Dharma Warnita Pesatuan Indonesian Embassy in Washington DC was also giving angklung performance in “Highlight of ASEAN: A Cultural of Performance by ASEAN Women Circle of Washington DC”, collaborating with Associates of the American Foreign Service Worldwide (AAFSW).165 Those are just some of the countless events conducted by Indonesian government together with Indonesian diaspora, or other cultural and educational groups and institution as a mean of cultural diplomacy initiatives.

IV.4 Case Study of House of Angklung Washington DC 2011 – 2016

Having a huge interest towards Angklung, in 2007 House of Angklung Washington DC (HoA) was established with the help of Angklung Rumpun Wargi Pasundan, a cultural association with the same interest towards West Java’s Sundanese culture.166 Consisting of 24 members with majority of Indonesian, HoA have been in various

164 Ibid., 165 Ibid., 166 About HoA. House of Angklung Washington DC. Retrieved 21 January 2018, from http://www.houseofangklung.com/about-hoa.html

62 events performing angklung independently or doing collaborations with local artist. With the goal of introducing Indonesian angklung to the United States community, HoA aims to bring harmony and joy through the music of angklung for the society. Primadona Rifai, the head coordinator of HoA stated that “our vision is simply everyone can make music together, even though you can’t play a single instrument, our mission is to spread the joy of making music together through angklung, we want to show people that everyone can play angklung together, even when they are tone deaf.”.167

HoA believed that the international community get to know Indonesia better through music, as they believe that music can be a tool to bridge mutual understanding. According to Primadona Rifai, HoA is not only promoting the country’s culture through introducing the music, but also the philosophy behind the chosen instrument, which is Angklung. Angklung is believed to be able to reflects the motto of Indonesia’s Bhinneka Tunggal Ika (Harmony in Diversity), a reminder that everything in this world

167 Rifai, P. (2018). Informational Interview with Head of Coordinator of House of Angklung Washington DC. Email.

63 is interconnected and impact one another.168 Written on the official website of HoA, the tube of angklung symbolize human life according to Sundanese elders. The tubes of angklung can be assumed as the people, the varies of size of angklung’s tubes represents diverse individual’s growth and capabilities, however, only with those different size of tubes angklung can be played as an instrument and creates harmony.169 Such thing go in line with what Aristotle had said, that by nature, humans are socials animals who might not be able to live appropriately in isolation.170

HoA is not only performing limited to the events conducted by Indonesian government. They are also engaging to various of events to promote the country’s culture, including international organizations’ events and even a concert of their own. Have been playing for years, the image of House of Angklung has been perceived well in the community, now they mostly attended and played in events by invitations. According to Ismunandar, Education and Cultural attaché of Indonesian Embassy in

168 Ibid., 169 The History & Philosophy of Angklung. House of Angklung Washington DC. Retrieved 21 January 2018, from http://www.houseofangklung.com/the-history--philosophy-of-angklung.html 170 Ibid.,

Washington DC, the Embassy is well aware of the existence of HoA as they help a lot promoting Indonesia’s culture to the society through anklung. The Emabassy stated that the cooperation with HoA has become very tight, even though there is no MoU or agreement related to their cooperation, Ismunandar stated that the Embassy has cooperate in kinship with this group. The cooperation with HoA is perceived very beneficial for the Embassy according to Ismunandar, because of their cooperation, now Angklung has been promoted to 9 different states in United States.171

Aside of continuously performing angklung as a mean of promotion of Indonesia’s culture, House of Angklung also consistently engage with a program named Angklung Goes to School. Angklung Goes to School is a program where House of Angklung goes to a school and conduct a workshop from 30 – 60 minutes in a class to teach students from grade 1 to 12 about angklung, or conducting a simple workshop of 10 – 30 minutes workshop performed at the International Night at school. The workshop, is not only promoting angklung as a musical instrument from Indonesia, it is not about performing the sound of angklung to be heard by the American kids, but it is to teach them about angklung, its philosophy, and how to play the angklung itself.

The Angklung Goes to School (AGTS) program was firstly initiated by The Embassy of Indonesia in the United States. According to the head coordinator of House of Angklung (HoA) Primadona Rifai, HoA was then registered to Montogmery County

171 Informational Interview with Education and Cultural Attaché of Indonesian Embassy in Washington DC. (2017). Email

65 to be certified to teach angklung in schools.172 HoA then was very active in the program, schools will usually call the Embassy and the Embassy will forward the information to HoA.

Angklung Goes to School is always become the highlighted program of House of Angklung since 2012. HoA believed that angklung is a great instrument to teach children about Indonesian music, and make them a part of Indonesian culture too. As in playing the angklung itself, many values can be learned, like teamwork, discipline, and equality. From time to time, Angklung Goes to School developed very rapidly. Which can be seen from the amount of school joined in this program. According to Primadona Rifai, the Head of Coordinator of House of Angklung, HoA has carried out the program independently from the year of 2012, Indonesian Embassy in KBRI Washington mostly give supports only to buy a new set of angklung and cover the transportation fee whenever HoA need to carry a lot of angklung to teach a big amount of people.173

HoA believed that international community gets to know Indonesia better through the music of angklung, not only because of the beauty of music it produces, but also the values that can be shown through the playing of Angklung.174 The benefit is not only felt by the audience, but also for HoA themselves. To play angklung voluntarily, HoA might not getting the economic benefit, but when being asked, playing angklung does makes the member of HoA feel accomplished for participating in making great music and spreading the joy to the community, and what is most important is, for them as diaspora, playing angklung gives the relief of their homesickness to their home country, Indonesia.175

172 Rifai, P. (2018). Informational Interview with Head of Coordinator of House of Angklung Washington DC. Email. 173 Ibid., 174 Ibid., 175 Ibid.,

IV.4.1 House of Angklung 2011

In the year of 2011, House of Anklung has engage to various of events and it is not only limited to government’s event, but also the one conducted by international institution like World Bank, and a festival. The year of 2011 also marked as the year where the first world breaking record of angklung largest ensemble, consisting of 5,182 of people with different nationalities playing angklung together. HoA has also performed and participated on the world breaking record event.

Years Event 2011 • The World Record of The Largest Angklung Ensemble - Washington DC • Cultural Performance at the Emerging Indonesia, World Bank, Washington DC • Cherry Blossom Festival, Washington DC • American Batik Design Competition Launching Reception, Marriott Hotel • DC Open House, the Embassy of Indonesia • MADE IN INDONESIA, Silver Spring Down Town, MD • INDONESIAN FESTIVAL, Washington National Monument, Washington DC • INDONESIAN CULTURAL EXHIBITION, University of Pennsylvania - Pittsburgh

IV.4.1 House of Angklung 2012

In the year of 2012, House of Angklung continuously promote Indonesia’s angklung through various of performance. Aside of performing from one event to another, the year of 2012 marked as the first year when Angklung Goes to School (AGST) Program is being conducted, and in the first year, HoA starts to tech angklung in 3 schools.

List of events:

Years Event 2012 • Cherry Blossom Festival, Washington DC • Spring Party, the Indonesian Ambassador's Residence • DC Open House, the Embassy of Indonesia • Made in Indonesia Festival, Silver Spring Down Town, MD • INDONESIAN ART EVENT, University of Indiana, PA

List of school participated in AGST:

Year School 2012 • Bealls ES, Rockville, MD • Rock Creek Valley ES, Rockville, MD • Reid Temple Christian Academy, Glenn Dale, MD

IV.4.1 House of Angklung 2013

In the year of 2013, HoA continuously participated in various of events as well as conducting the Angklung Goes to School Program. During the year, the school participate in AGST is increasing.

List of events:

Years Event 2013 • DC Passport, Embassy of Indonesia • CELEBRATION OF TEXTILES, Textile Museum, Washington DC • New England Indonesian Festival, Copley Square, Boston, MA • PERFORMING INDONESIA, Smithsonian Institute, Washington DC

List of school participated in AGST:

Year School 2013 • Darnsville ES, Herndon, VA • Darnestown ES, Columbia, MD • Janney ES, Wash DC (Embassy Adoption Program • Seaton ES, Wash DC • Seven Locks, Potomac, MD • Reid Temple Christian Academy, Glenn Dale, MD • Schools Without Walls HS, Foggy Bottom, DC

IV.4.1 House of Angklung 2014

In the year of 2014, HoA continuously engaged in various of events to promote Indonesia’s culture through angklung. The Angklung Goes to School Program also keep developing, as the number of school participated in this program keep rising.

List of events:

Years Event 2014 • DC Passport, Embassy of Indonesia • ASIAN HERITAGE FESTIVAL, Washington DC • ASIAN HERITAGE MONTH, Federal Court, Washington DC • World Refugee Day, American Red Cross • Sambal Launching, Whole Food, Washington DC • National Convention Diaspora, New Orleans, LA • Global Initiative Launching, Ferris State University, Michigan, OH • New England Indonesian Festival, Copley Square, Boston, MA • Performing Indonesia, Smithsonian Institute, Washington DC List of school participated in AGST:

Year School 2014 • Reid Temple Christian Academy, Glenn Dale, MD • Annunciation Catholic School, DC • School Without Walls HS, Foggy Bottom, DC • Wyngate Elementary, Bethesda, MD • Seaton ES, DC (Embassy Adoption Program) • Horace Mann ES, Wash DC • Campbell ES, Arlington, VA • Colvin Run ES, Vienna, VA • Beauvoir, the National Cathedral ES, DC • Flora M. Singer ES, Silver Spring, MD

SCHOOL PARTICIPATED IN AGTS 12

0 2012 2013 2015

Series 1

Graphic 1. School participated in AGST

It can be seen through the chart, the Angklung Goes to School Program is very demanded from time to time as the number of the school participated in the program always increasing each year. Doing all the things voluntarily, HoA members stated that the benefit gained from everything that they’ve done to promote Indonesian culture through angklung is friendships and music knowledge. When being asked of what makes the organization keep on going, Primadona Rifai stated that “the glue in our group is the friendship and love for angklung”.176 Despite all the manifestation of art in Indonesian culture, this diaspora group believed that music has the ability to bridge

176 Rifai, P. (2018). Informational Interview with Head of Coordinator of House of Angklung Washington DC. Email.

71 mutual understanding. Aside for promotion of Indonesian culture, evidently, playing music has become something that support the survival of this group.

Even though as individuals they are all having their own activities, but through this group, they are not only enjoying the music playing but also the friendship they gained. Despite of playing angklung for promoting Indonesia’s culture, evidently to play music together has made the social formation of diaspora remains strong. Playing the angklung itself has given the feel of relief for the diaspora who play the instrument, it makes them feel accomplished as they participate in making good music spreading joy through it. Aside of that, playing angklung has also been the cure of homesickness of the diaspora towards Indonesia, especially as they are all playing the instrument together, making the vibe of ‘home’ becoming more real.

IV.5 The Combination of Diaspora and Music to Enhance Indonesia’s Cultural Diplomacy

Public Diplomacy

Cultural Government Diplomacy artist dance singer music art and cultural literature performer paintings cultural and theatre educational institution martial arts academicians architecture diaspora

Diaspora Music

Countries in the world are cooperating with one another to achieve shared-goals and interest, making maintaing relations among countries remains important. Therefore, states are continously conduct diplomacy as a mean of effort in maintaing such

73 relations. Modern diplomacy offers states a new way of engaging different actors in international realm. Unlike traditional diplomacy that only limited to government to government interaction, modern diplomacy works from government to the people, even from people to people. This people to people diplomacy, is also known officially as Public Diplomacy. The concept of Public Diplomacy itself was first coined by Edmund Gullion in 1965 that outlines public diplomacy as a type of diplomacy that deals with public attitude influence on the implementation of foreign policies, where the government tries to cultivate the opinion of public. 177 According to Tuch, what is called as public dipomacy itself refers to “a government’s process of communicating with foreign publics in an attempt to bring about understanding for its nation’s ideas and ideals, its institutions and cultures, as well as its national goals and current policies”.178 Benno Signitizer outlines two basic dimensions of public diplomacy, which are political information as a mean of persuasion, and cultural communication as a mean of mutul understanding.179 Basically the concept of public diplomacy is the concept where the government try to influnce the opinion of public as a mean to support its foreign policy and national interest, it is about winning the hearts and mind of the public.

In winning the hearts and mind of the public, the practice of public diplomacy can be done using variety of tools and instrument. Culture, is one of them. Culture itself is believed to be a resource of soft power by Joseph Nye, as it has the ability to attract, and attraction sometimes lead to acquiescence.180 The use of culture in public diplomacy then gave birth to the term cultural diplomacy. According to Milton C. Cummings, cultural diplomacy is “the exchange of ideas, information, art and other

177 J. Cull, N. (2006). "Public Diplomacy" Before Gullion: The Evolution of a Phrase | USC Center on Public Diplomacy. Uscpublicdiplomacy.org. Retrieved 29 January 2018, from https://uscpublicdiplomacy.org/blog/public-diplomacy-gullion-evolution-phrase 178 E. Hopkins, A. (2015). Government Public Relations: Public Diplomacy or Propaganda?, 7(5). 179 Signitzer, B. Public Relations and Public Diplomacy: Some Conceptual Explorations. Retrieved from https://link.springer.com/chapter/10.1007/978-3-531-90918-9_13 180 S. Nye Jr., J. (2004). Soft Power: The Means To Success In World Politics. New York: Public Affairs.

74 aspects of culture among nations and their peoples in order to foster mutual understanding”.181 This go in line with one of the dimension of public diplomacy, which is cultural communication as a mean of mutual understanding.

In cultural diplomacy, the goals of fostering mutual understanding can be done through various of ways using culture as the main instrument and the involvement of varies of actors. The culture itself, has a lot of variety from music to literature, theatre, dance, paintings, architecture, 182 even martial arts. Simon Mark has outlines several actors in cultural diplomacy, as cultural diplomacy is a two ways communication that let the involvement of other actors rather than non-state actors. This include absolutely the government, but also non-state actors like singer, artist, cultural performer, academicians, educational and cultural institutions.183 In fostering mutual understanding, one will try to promote its culture to another, aiming that an understanding towards its culture will produce good opinion towards the country, supporting the positive image of the country, and can impact the relations between countries positively.

Indonesia is one of the countries that actively does such things. Indonesia itself is a country that is very rich in culture, and the government has been very aware of such thing and continously gives effort to promote the culture of the country that will support their achievement of national interest. Indonesian government is very active of promoting the country’s culture abroad, using varies of culture as the instrument and let non-state actors involvement within the conduct of cultural diplomacy. However, a lot of challenges still get in the way for the government to maximally conduct cultural diplomacy. Those challenges are the limited budget, lack of concrete regulations, that somehow leads to the lack of human resources to maximally conduct

181 C. Cummings, M. (2003). Cultural Diplomacy and the United States Government: A Survey. Center for arts and culture. 182 Mark, S. (2009). A Greater Role for Cultural Diplomacy. Netherlands Institute of International Relations ‘Clingendael’. Retrieved from https://www.clingendael.org/sites/default/files/pdfs/20090616_cdsp_discussion_paper_114_mark.pdf 183 Ibid., 75 cultural diplomacy. Having a strong basaic to conduct a great cultural diplomacy, Indonesia should use all of the potentials that will help the conduct of cultural diplomacy becomes better and generates a better outcome as well. Based on primary and secondary data analyzed on this research, the writer of this thesis answered the research question that the combination of diaspora and music, is able to enhance Indonesia’s cultural diplomacy

Under the Directorate of Public Diplomacy of the Ministry of Foreign Affairs of the Republic of Indonesia, the government has continuously conduct programs to engage with foreign public to maintain a positive image of the country. The government of Indonesia is also well aware of culture as one of the country’s soft power resources. The conduct of cultural diplomacy then took place under the umbrella of public diplomacy, by promoting the country’s culture abroad and aiming that it will help to support on maintaining Indonesia’s positive image. Cultural diplomacy also aims to foster mutual understanding, through culture, the government expect the public to get to know and understand the country better.

In the conduct of cultural diplomacy, Indonesia’s government is indeed open up to the involvement of non-state actors, like artists, singers, cultural groups and institutions. However, with a very limited budget, it is impossible to always send over the cultural and arts performer from the homeland, in this case, the empowerment of diaspora remains important. Analyzing the data and the case study, diaspora works as a partner for diplomats, they are willingly promoting the country’s culture even voluntarily. As what Mr. Dino Patti Djalal have said, most of diaspora already have better understanding towards the country’s culture before going the host country, even when they are not, they are willing to learn and then ready to help to carry out on helping the conduct of cultural diplomacy initiative.

Following the empowerment of diaspora in the conduct of cultural diplomacy, the government has also need to be aware of the best cultural product or an art manifestation to be promoted. Through analyzing the data of this research, the writer

76 of this thesis has found that music, that lies at the very core of every culture in this world, has the ability to transcend beyond boundaries of time, places, and different cultural backgrounds which makes all the people relate to music in the same way. This is not only ease the people to understand the culture of one particular country through music, but also to ease the diaspora on promoting the country’s culture, as music is easy to be understood and perceived well. It does not take a degree of musical study to understand music, or a deep understanding towards the music of one particular culture to relate and have ‘feelings’ when hearing the music itself.

Thomas Solomon has outlined two approaches in the study of diaspora and music. First, “diaspora as metaphor” that expressed about the involvement of diaspora in the global flow of music.184 Second, “diaspora as social formation” that expressed the role of music in articulating social network in diasporic communities.185 This approach was applicable to the African diaspora that brings their music to many places in the period of slavery, and United States is one of the destination. During the period of slavery, African diaspora brought their music together with them, they will have their daily music consumption even though they are far from their homeland, showing that music can be enjoyed everywhere and indeed an intangible thing that can goes beyond boundaries of time and places. In the United States, African diaspora known for their genre of music called ‘spirituals’. This musical genre born as the result of the slavery period, having religious lyrics sung by enslaved African not only when they work, but also when they united in church. The genre of music spiritual has its own dynamic and flow of tone, preserved from the African heritage they brought from their homeland. This kind of music they brought, is not only unites them and make their sense of community become stronger during the time, but also promoting a new kind of music adapted from their culture to the Americans, generating collaboration by African Americans and developing other kind of musical genres like gospel and jazz.

184 Solomon, T. (2015). Theorizing Diaspora and Music. Urban People - Lide Mesta. Retrieved from http://lidemesta.cz/assets/media/files/17,%202015,%202/02_Solomon_w.pdf 185 Ibid., 77

This approach also goes in line with the combination of diaspora and music to enhance Indonesia’s cultural diplomacy proposed and found in this research. Conducting various programs to promote Indonesia’s culture, especially the music, government is also getting helped by the diaspora naturally since diaspora itself will carry out the music of their homeland from places to places. Indonesian diaspora is not only willing to help the government to spread the culture through music, but they are willing to do it voluntarily, naturally as music is what they brought together with them when they live the homeland. Music itself, similar to what have been studied from the case study of this research, House of Angklung Washington DC, is the glue to the diasporic communities. In this case, diaspora and music when being combined is having “symbiotic mutualism”, as they are interconnected and gives mutual benefit.

Therefore, the writer of this research has found that the combination of diaspora and music is able to enhance Indonesia’s cultural diplomacy. First, because the use of diaspora can fill out the limited of budget in the conduct of cultural diplomacy, diaspora will work voluntarily on promoting the country’s culture as they will feel accomplished since they are doing things that strengthen their identity and gives relief to the sense of longingness of the country. Second, the utilization of music is not only eased the public to understand Indonesian culture better, but also the diaspora in the effort of promoting the country’s culture. Last but not least, diaspora and music when being combined is not only useful for the promotion, but also to strengthen the diasporic community abroad. Therefore, the combination of diaspora and music has the ability to enhance Indonesia’s cultural diplomacy as it is suitable to the current condition where the government is still having a limited capability to maximally conduct the country’s cultural diplomacy.

CHAPTER V

CONCLUSION

Indonesia has actively conduct the concept of public diplomacy, as an effort to build a positive image of the country that will be useful to maintain the country’s relations with another country. In conducting public diplomacy, Indonesian government has been well-aware of using any potential instrument, especially culture. As according to Joseph Nye, culture is one of the soft power resources of a country. As a country that is very rich in culture, Indonesia already has a strong basic to conduct what is called as cultural diplomacy. However, this basic is still far to be maximally used. Looking at the reality, the conduct of Indonesia’s cultural diplomacy is still very limited and facing a lot of challenges like the lack of budget, concrete regulations, and even human resource.

Such thing does not close the fact that Indonesia can actually gain a lot of benefit through cultural diplomacy. Therefore, the government has to use every possible resource to conduct a greater cultural diplomacy and achieve a better outcome, even though it is based on the limited capability of the government.

In this research, the writer of this thesis has seen the potential of Indonesia’s currently booming phenomenon of diaspora, and music, which lies at the very core of every cultures in this world, and propose the idea of both of those things combined to enhance the country’s cultural diplomacy. Based on the data provided in the analysis, diaspora works as partners of the diplomats. Based also on the case study of this research, it does not cost anything to empower diaspora to help the conduct of the country’s diplomacy. As spearhead of diplomacy, diaspora works on their own in supporting the achievement of national development and interest. Specifically, in cultural diplomacy, diasporas are the one who are willing to learn and do the showcase when the government has limited budget to send over Indonesian artist and performer from the

79 homeland. Diaspora are the one who are ready to help, not concerning on any political agenda, only concerning on their accomplishment of doing acts that justified their love to the country, that satisfy their sense of identity.

On the other side, Indonesian culture is indeed consisted with various manifestations of art. From music, dance, literature, theatre, even culinary. The writer of this thesis has found the fact that music has the ability to transcend beyond boundaries of time and places, and very understandable as every human being in this world, no matter how different they cultural backgrounds are, relate to music in the same way. It does not take a degree of musical study to understand music, there is no age limitation for a human being to understand music, music not leaps the gaps of diversity between people all around the world, yet it swims underneath it and use its power to close those gaps.

From this research, the writer of this thesis highlighted several findings on the potential of the combination of diaspora and music to enhance Indonesia’s cultural diplomacy. That diaspora works as a partner for Indonesian diplomats, especially in the conduct of cultural diplomacy where most of the time, the limited budget has given boundaries to the government to show the best cultural performances from the country. Most of diasporas are not only having a better understanding towards the country’s culture, or willing to learn about it more, but also have the willingness to promote the country’s culture voluntarily. This shows how potentials diaspora are to be empowered to support the country’s conduct of cultural diplomacy.

Music exist at the very core of every culture of this world, everybody can relate to music the same way without having to be sourced on the same cultural background. From this it can be seen that music is the right and best weapon to do engagement with people. Based on the case study, one’s culture can be better perceived if it shows a cultural product that makes the audience relate and understand about it easily. In this thesis, a lot of example gained from the data that used as a resource for this research shows that music is the best cultural product to be used.

The combination of diaspora and music has the ability to enhance Indonesia’s cultural diplomacy because first, when it is used to promote the country’s culture to the foreign public, it matches and suitable to the country’s limited capability like the lack of budget, concrete regulations, and human resource because it is cost friendly (using diaspora empowerment) and offer a better engagement to the people (using music). Second, reflecting to the approaches on the study of diaspora and music by Thomas Solomon, “diaspora as a metaphor” because through the spreading of Indonesian diaspora all around the world, the flow of music coming from Indonesian culture becomes wide open. This go in line with the essence of cultural diplomacy. In the approach of “diaspora as social formation”, music plays a significant role in articulating the social networks that maintain diaspora community. Both diaspora and music when being combined, is having what is called as “symbiotic mutualism”, and such thing are meaningful for the conduct of cultural diplomacy.

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APPENDICES

APPENDIX I. Transcript of Interview with Founder of Foreign Policy Community of Indonesia, Dino Patti Djalal, January 15th 2018

Interviewer : Wilma Sukarna Putri

Interviewee : Dino Patti Djalal

Wilma : Based on your opinion and experience, can you define the role of Indonesian diaspora and its contribution to the country’s cultural diplomacy?

Dino Patti : Well, the role is very important because they know the culture better, and there are a lot of Indonesian Diaspora, before they arrive to the host country they learn how to dance, they learn how to do angklung, so whenever the embassy has a public event, they always ready to perform. When I was in Washington, there are a lot of clubs, promoting Indonesian culture there is silat, there is angklung, there is jaipongan, there is ludruk, and so many other things.

Wilma : In 2011 when you were the Indonesian Ambassador for the United States, world’s largest angklung ensemble was being held. What were your vision, mission, and aims for the event? And what was the outcome that can be received from the event?

Dino Patti : The outcome is we broke the world’s record, and certified by the Guinness world record of the largest angklung ensamble in the United States, The mission was to promote Indonesian culture to the political elite. To political and economic elite. So we have five thousand people, but many of them were from congress people, corporate people, and so on. We want to make them remember Indonesia all their lives, and after the angklung thing, they are all remember Indonesia. Because we give each of them angklung.

Wilma : Why you specifically chose angklung? are there any plus points from angklung based on your opinion?

Dino Patti : Because angklung is the easiest way to train people, you can train people with angklung in 10 minutes. Right? Whereas you cannot do the same with gamelan, you cannot do the same with batik right? Or jaipongan you know. So angklung is the best. And angklung also is the best to get you know five thousand people together to do something in a collaborative way

Wilma : Was Indonesian diaspora giving significant contribution to the event? (if yes, through what ways?)

Dino Patti : Yes, we all did it together with them.

Wilma : According to your opinion, do you think that Indonesian government has maximally used all the potentials of diaspora to help the conduct of Indonesia’s diplomacy? (is there any suggestions for both the government and diaspora as well?)

Dino Patti : Well, not maximally. I think they are now starting to have a unit in diaspora, but I think they can do a lot better. There should be more budget, more programs to engage the diaspora abroad. I think there should be a special unit with a large budget at the directorate general level to handle diaspora. Right now is at echelon 3 level, we need in echelon 1 level at directorate general to handle it, and with a budget. Because right not the unit only has IDR 2 billion, is a joke right?

Wilma : That is the suggestion for the government, how about for the diaspora sir?

Dino Patti : Diaspora, some are very active, some or not. But they are al not very well coordinated. We are having so many diaspora groups, and we need to connect the dots between all these people.

APPENDIX II. Transcript of Interview with Director of Public Diplomacy Ministry of Foreign Affairs of Republic of Indonesia, Aziz Nurwahyudi, January 18th 2018

Interviewer : Wilma Sukarna Putri

Interviewee : Aziz Nurwahyudi – Director of Public Diplomacy Ministry of Foreign Affairs of the Republic of Indonesia

Wilma : How important is the role of culture in the practice of diplomacy?

Aziz : This (culture) is an asset for diplomacy. Culture itself is not only limited to dance, but also related to way of thinking. Why? Let’s say the culture of Java, is different with North Sumatera. From the language, and the way you conduct communication and relations with others. Culture is what differentiate us with another nation.

Wilma : Is there any official policies in using culture in the conduct of diplomacy?

Aziz : Here, I do not really understand about the regulation legally. Based on the constitution, honestly, I do not really understand about culture regulation. Maybe it is available in Ministry of Culture. However, in diplomatic level, we can show culture, we can sell it, we emphasize it, we promote the culture like our dances, our cuisine.

Wilma : How can you define music in Indonesian diplomacy?

Aziz : Music is also an asset for diplomacy. Me myself is currently developing fashion, film, and music, as an instrument for Indonesian diplomacy. Music is what characterize us, angklung and gamelan is our flagship which is promoted everywhere. We also have another musical instrument, and do not forget, that Indonesia is also modern. Indonesia

also has talented musicians, international level musicians like Addmie MS, Dwiki Dharmawan. Indonesian jazz also great, because we are not the child of the nation that did not grow. Even traditional jazz, please check Dwiki Dharmawan in Youtube, he plays Pasar Klewer song. The music is jazz, but it also sounds gamelan. Our music is what we bring everywhere. angklung, is what we promoted everywhere. Even next July, we will play angklung in United Nations. Why angklung? Even bamboo curtain state did not produce angklung. Angklung is unique and original. Traditional music is very original. How about western music? Everything is the same, drums, percussion, guitar, it is all the same. Us? There are gamelan, angklung, and others. How easy is angklung to be played by people? why? First, because its beautiful music. Second, to make a bond. Foreigners who were not knowing one another, you give them angklung one by one and teach them, play one song, Western song, what will happen? A bond, and big applause. Angklung is getting used as a medium for communication.

Wilma : How much budget is allocated for cultural programs from the whole budget that is being given to Directorate of Public Diplomacy?

Aziz : For budget, the budget for diplik (Directorate of Public Diplomacy) is the budget that is being slumped. For Directorate General of Information and Public Diplomacy, almost 25% is for Directorate of Public Diplomacy. However, in Directorate of Public Diplomacy, we are very fluid. We cannot divide as much as this for culture, as much of this for economy, because everything is interconnected and completing one another. It will be very difficult to explain quantitatively.

Wilma : Whether the budget if sufficient or not?

Aziz : It is still deficient. Everywhere, the budget is deficient. Because we always want to show the best, and for artist, the limit is the sky. Brilliant ideas are hard to be realized because it stopped when there is no budget. No matter how much, it will be deficient because this is intangible. Once we talk about the budget, those brilliant ideas die.

Wilma : Angklung is one of the Indonesian culture that has been recognized by UNESCO, is there any regulations in the utilization of angklung in Indonesian cultural diplomacy?

Aziz : angklung has been used a lot, there is no regulations, but maybe policies.

Wilma : How can you define the role of diaspora in Indonesian Diplomacy?

Aziz : Diaspora is our spearheads. Why? Because they are oversea. When I was in Netherland, 1.7 million is Indonesian descent. 15.000 people are still using Indonesian passport. 4.000 of them are university students. For diplomat, these diaspora people are working partners. Because it will be impossible for me to dance, it is impossible for me to manage the photo exhibition after dance, etc. Thus, diaspora is fist, the spearhead of Indonesian diplomacy, because public diplomacy lets the involvement of individuals. Two, diaspora is asset to promote Indonesia, some of them are the experts in dancing, singing, and even Indonesian diaspora promotes the culture through music.

Wilma : What is your expectation for Diaspora?

Aziz : They help on promoting our country in their (host) countries. They become our nation’s ambassadors, they are diplomats on their won. They will help our task, to do diplomatic task, that is why I told you they are my working partners.

Wilma : For diaspora itself in Ministry of Foreign Affairs, they are still (being handled) in echelon 3 right, Sir? Is there any initiation to make it to echelon 1?

Aziz : Yes, it is under Directorate of Public Diplomacy, and we still cannot move it to echelon 1. There is no Presidential Decree, or Government Regulation, or a Constitution yet about this. The problems that are still getting faced are, we already tell Indonesian diaspora to register to KMILN (Kartu Masyrakat Indonesia di Luar Negeri), for this, the Ministry of Foreign Affairs is working together with other Ministries. Thus, if the diaspora come to Indonesia they will gain a lot of benefit. However, our problem is how we the ministries can give benefit when they (diaspora) register. In the future, we hope we can handle this.

Wilma : As a person and as the Director of Directorate of Public Diplomacy, do you believe that music has the ability to win the heart and mind of public?

Aziz : Don’t be wrong. Everywhere I get posted I always perform music. Because I have musical program, not only gamelan, I also perform Aning Katamsi. There is a message to be sent, we are back to human rights, interfaith, development of Indonesia. I also make the programs for Dwiky Darmawan. The first year (we) only made one day, it’s getting protested. The next day (we) made two days, also getting protested, those two days they (the audience) really enjoyed. Therefore, music in the practice of diplomacy is really on demand.

APPENDIX III. Transcript of Interview with Education and Cultural Attaché Indonesian Embassy in Washington DC, December 18th 2017

Interviewer: Wilma Sukarna Putri

Interviewee: Ismunandar (Education and Cultural Attaché Indonesian Embassy in Washington DC)

Wilma : Over all the manifestations of art in Indonesian culture (like dance, drama, architecture, literature, even cuisine), can you define the role of music in Indonesia’s cultural diplomacy?

Ismunandar : Music is a part of cultural diplomacy (soft diplomacy) which we (the government) used. Through soft diplomacy we can connect with people from another nation easier.

Wilma : What kind of activities that the embassy of Indonesia in Washington DC has done to promote Indonesian culture in the U.S? (for example: conducting workshops, seminars, or concert)

Ismunandar : We are active in promoting Indonesia and Indonesia’s culture here. You can see the program here*

Wilma : Does the government use Angklung as a tool of cultural diplomacy in the U.S?

Ismunandar : We are in the Indonesian Embassy in Washington DC is active on using angklung

Wilma : Does diaspora play a role in supporting the conduct of Indonesia’s cultural diplomacy in the U.S? if yes, through what kind of ways?

Ismunandar : We are in Indonesian Embassy in Washington DC is very active to cooperate in diaspora.

Wilma : Is there any official regulation or policy about the use of diaspora and music / angklung to be precise, in the promotion of Indonesia’s culture in the U.S?

Ismunandar : As far as I know, there is nothing that specific. However, we are pushed to accentuate our culture in the promotion of Indonesia.

Wilma : Does the Embassy of Indonesia in Washington DC recognize House of Angklung Washington DC? If yes, is there any MoU or agreement related to this?

Ismunandar : Yes, our cooperation is very tight. We are cooperating in kinship, so there is no MoU.

Wilma : As a representative of the Embassy of Indonesia in Washington DC, what is your opinion about House of Angklung Washington DC and their programs? (like their involvement in government or non- government cultural events, the PULAU concert, and the Angklung Goes to School Program)

Ismunandar : HoA is very active in promoting Indonesia and Angklung. Aside of concert, they also help us on the conduct of Angklung Goes to School program.

Wilma : What kind of support that the Embassy of Indonesia in Washington DC had given / will continuously give to the House of Angklung Washington DC? (like financial support / funding, or another.)

Ismunandar : We give sponsorship, transportation support for AGST activities, and help on buying angklung.

Wilma : Does the Embassy of Indonesia in Washington DC felt benefited by the House of Angklung Washington DC’s presence? If yes, what are the benefits?

Ismunandar : Of course, very helping. Because of this cooperation now we already reach 9 states in promoting angklung.

1. The Embassy in cooperation with the Smitsonian Institute to promote Indonesia and Islam in Indonesia is diverse, inclusive, democratic, moderate and tolerant, within the range of 10 September to 19 November 2016. The series of Performing Indonesia 2016 activities are as follows: a. This activity is the third activity, after Performing Indonesia 2013 and 2014. The theme of this year's activities is Islamic Intersections, quite different from the previous focus of the art of Central Java (2013) and West Java (2014); b. Islamic Intersections shows Islam in Indonesia embodied in a variety of direct religious expressions to cultural performances. This theme will be manifested in a variety of shows that showcase the history and diversity of Islamic expressions in Indonesia, while also showing the latest sociocultural and religious developments in Indonesia. This activity will involve 80 artists, experts, and instructors, activity schedules, and program books; c. The series of events include Indonesian Muslim fashion show, tilawatil Qur'an, to wayang performances (medium used by wali sanga to spread Islam). To show the tolerance and growth of other secular music, will also feature fusion of strings and gamelan (music concert by Tony Prabowo and Wayan Gde Yudane), and kolintang and angklung collaboration that will bring Indonesian music and Indonesian Islami songs. In addition to festival performances will also feature a symposium forum that discusses Islamic discourse and transculturalism, ritual practices, Indonesian performing arts. The festival is also equipped with workshops painting puppets and pencak silat; d. This festival series is an interesting complement to the exhibition of Qur'an collection from the Istambul Museum which was first held at Smitsonian in September-December 2016. The audience will be treated to Qur'anic text in an exhibition showing the collection of Qur'an from the century the 7th AD, and then the Qur'an translation in the life of the world's largest Islamic society in Indonesia. 2. Form of festival activities, among others are:

a. Fashion for Moslem Clothing: The latest design from Java (Corcoran Gallery of Arts), Saturday, September 10, 2016 (7:30 pm), at 6:00 pm: pre-show lecture; b. Gesek Music meets Gamelan: Space Music from Indonesia, Thursday, September 22, 2016 at 7:30 pm; c. Indonesian Performing Arts: Music from Sulawesi and West Java, Saturday 22 October 2016, at 7:30 pm; d. The Art of Reading the Qur'an, Saturday 5 November 2016 at 2:00 pm, Corcoran Gallery's Hammer Auditorium; e. Martial Arts from Sumatra: Pencak Silat, Saturday, November 5, 2016, Corcoran Gallery's Hammer Auditorium; f. Symposium: Islam and Performing Arts in Indonesia, Wednesday, 9 November 2016, 7; 30pm, Corcoran Gallery's Hammer Auditorium; g. Wayang: Bima searches for enlightenment (Bima searches the devine essence), Thursday, November 10, 2016, at 7:30 pm, Corcoran Gallery's Hammer Auditorium. This show involves many music professors from various states in the US and outside the US. Cooperation with ethnomusicology profession sets proved to be effective in mobilizing Indonesian lovers and music and theater and will be used as a strategy for cultural dissemination and engagement of Indonesianist academics; h. Workshop coloring puppets for family, Sunday, November 13, 2016, at 2:00 pm - 4:00 pm, Arthur M. Sackler Gallery's Imagine Asia Classroom. 3. Ikke Nurjanah supported by BEKRAF held various activities in the US from September 1 to 15, 2016 which include: a. Interview with VOA on the development of Dangdut Music in the country; b. Touring the Library of Congress (Music / Asian Devision, donating the book "Diary Dangdut Ikke Nurjanah"); c. Meet and Greet with Dangdut Lovers in DC, Maryland, Philadelphia, Pittsburg and New York; d. Became a visiting lecturer at the University of Pittsburg in "Global and Popular Music" classes, and Indonesian Embassy classes. e. Surgery book in Philadelphia and KBRI. 4. World tour Stand-up comedy Pandji Pragiwaksono at the Embassy of the Republic of Indonesia in Washington DC, September 16, 2016. 5. Kroncong Concert Activity with Ubiet Raseuki feat Grass. As a series of Ubiet visits to the US, Ubiet held a kroncong show at the Embassy. This kroncong features Grass group in residence at the University of Richmond. Hannah who is the leader and vocalist of Grass is the alumni of

Darmasiswa Kemdikbud program. This activity shows the impact of Darmasiswa and Ubiet visits to the US. The show was held at the end of September 2016. 6. Angklung Promotion in the US, an effort to introduce angklung to US public especially through campus and school continue to be implemented. Besides that, there is also a visit to important events involving the state. Some important things to look forward to are maintenance (delivery of tuning experts), monitoring to serious schools, and continuing to work with various Indonesian community groups, and groups of music teachers using angklung, and Permias (Indonesian Student Association in the US); 7. Workshop on painting puppets for children, in collaboration with Rumah Indonesia and Smitsonian Museum of George Washington University, KBRI held on November 13, 2016, get very good response, even beyond capacity. Cooperation with Smitsonian and Rumah Indonesia is considered very strategic and continued to be continued. Children and families as the target of the workshop participants are seen as strategic targets for the promotion of Indonesia and Indonesian culture; 8. The promotion of culture and Indonesian language is done by the Embassy of the Republic of Indonesia in Washington DC at American University. The event was held in collaboration with the School of International Service American University and implemented by BIPA teachers from the Kemdikbud Language Board assigned at Amerikan University as well as a showcase of Indonesian language workshop participants. This event is a comprehensive promotion of Indonesian Language and Culture. 9. HAMSA Performance: Five Tales, a percussion musical performance, whose main component is the Balinese gamelan, to bring an Islamic theme. The concert featuring Brian Baumbusch and the Lighbulb Ensemble, which often earns the praise of music critics in the US, is a fascinating combination of elements. The concert received a positive response, in the future collaboration with artists in Bali is expected to be more closely. Cultural Promotion event in 2017 1. Contribution of the largest collection of Wayang Indonesia to Yale University: In the year 2016, Art Gallery Yale University has submitted will be donated Indonesian puppet collection and related material puppet show from Dr. Walter Angst, the puppet collector in Germany. This donation is the largest collection ever given to an institution. From a quick search, the collection consists of more than 20,000 puppets that can be used to perform complete narrations such as the Ramayana and Mahabharata stories and represent a variety of iconographic areas of the discovery of puppets throughout Western Indonesia. The collection consists of 166 complete sets of puppets from Java, Bali and Lombok, consisting of wayang kulit, wayang golek and wayang klitik. This collection is believed to be the only complete collection available in the world. Included in this

100 collection are two complete sets of wayang pusaka puppets from the Yogyakarta and Solo palaces, one stamped with the emblem Pakubuwono X (1893-1939), and the other from Prince Tejakusuma, also twenty puppets from the period 1780-1880 and once part from the collection of Sultan Makunegara VII (1916-1944).

2. Cooperation with Gamelan Ragakusuma in the framework of the 10th anniversary, Gamelan Ragakusuma is a group of Gamelan driven by Professor Andy McGraw, Professor of Music at the University of Richmond. The Ragakusuma gamelan group, whose members are mostly non-Indonesians, popularized Balinese gamelan, Javanese gamelan and Keroncong. For keroncong activities, they formed a group of orchids called grass. Three of the core members of the Ragakusuma group are alumni of the Darmasiswa program, and two other core members are applying for the 2017 darmasiswa program. The Ragakusuma and Rumput groups are very active in promoting gamelan and keroncong in America, especially on the East Coast, and even in Indonesia. The Embassy will continue to work with Ragakusuma and Rumput groups. The event was held on March 19, 2017. 3. KBRI and Kemdikbud support Rizal Iwan, an artist from the Jakarta Theater to perform premieres in a six-week drama at the Rorschach Theater of Washington DC, April-May 2016. This drama is based on the true story of the missionary family in Tanjung Pinang, containing stories of Indonesian diversity, saga that grew in Indonesia (Hang Tuah - Hang Jebat), and some cultural cross. Rizal's performances received good appreciation from art critics in Washington DC and beyond. Through this activity, the cooperation between Indonesian and American artists is interwoven and is expected to continue and extends to other cooperation. 4. Efforts to promote batik in school-age children in America continue to be encouraged. Activities that cooperate with Rumah Indonesia has reached 3 states in the United States. Indonesian Batik in the United States, became known through a variety of sustainable promotions by Indonesian Representatives in the US, among others through the competition of American Batik Design from 12-16 July 2011, whose main purpose is to further strengthen the contacts of people between Indonesia and the United States and attracting US citizens from a variety of talents; graphic arts and fashion designers to enter into the batik industry, while to introduce batik to the younger generation and children, since 2016 KBRI in cooperation with Rumah Indonesia introduced batik to schools in the United States and workshop activities. . 5. The promotion of Indonesian culture through Angklung continues to be implemented, in 2017 is a new breakthrough, the entry of Angklung to campus / university. The initiative started with Yale University in New Haven, which started from angklung training for students studying

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Indonesian, and led to the performance of the students on the show at the "South Asian Spring Festival", which was attended by about 100 people. The event was held on March 8, 2017. Angklung promotion in addition to entering the university, is also implemented through community activities and the Embassy, among others: - An interactive angklung performance at the Washington International Education Conference, held at the Indonesian Embassy on 23 February 2017, attended by 250 lecturers and international staff from various universities in the United States; - Interactive angklung performance at California State University Long Beach (CSULB) led by Jill's mother, at the International Dinner Gala Performance, in collaboration with CSULB and Consulate General of LA, attended by more than 200 lecturers, students and communities in Long Beach, California April 28, 20178; - House of Angklung appearance at the invitation of DC Mayor Office at Asian American and Pacific Islander Heritage Month Celebration, on May 8, 2017; - Appearance of Garfield School through Embassy Adoption Program implemented by the Embassy on May 23, 2017; - Appearance of DWP Embassy of the Republic of Indonesia in Washington DC, at the Highlight of ASEAN: a Cultural of Performance by ASEAN Woman Circle of Washington DC, in cooperation with the Associate of the American Foreign Service Worldwide (AAFSW), on May 26, 2017. 6. Javanese and Balinese Gamelan Program, is a program of Embassy of Indonesia received a good reception from the general public in the DMV area. Javanese gamelan programs are open for beginner and intermediate classes and are held on Mondays and Thursdays every week. It also opened classes for high school children, consisting of children from various high school diplomats in the DMV region (Walt Whitman, Wood Wilson High School and Richard Montgomery High School). This Javanese gamelan instructor is P Muryanto who is a graduate of STSI Yogyakarta. Gamelan used is a donation from Sri Sultan Hamengkubuwono X, in 2013. Starting in 2017, the Embassy began to activate the Balinese gamelan exercise program. The Balinese gamelan has been owned by the Indonesian Embassy since 2008, but has not been fully utilized. Participants who participated in the Balinese gamelan exercises came from various universities around the DMV, among others from American University (AU), George Town University, Montgomery College, Maryland and Virginia University. The instructor is Mr Nyoman Suandin, a teacher, composer, dancer and choreographer. 7. Javanese dance training and workshop. As the participation of Heni Winahyuningsih's mother (STSI Yogyakarta) at the River to River Festival organized by the Lower Manhattan Cultural Council, Heni's mother gave lectures and demos of Java dance at the Embassy on Tuesday and

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Wednesday, 20-21 June 2017 at the Embassy of the Republic of Indonesia in Washington DC and greeted which is good from the people of the United States who are domiciled around DMV and 100 participants attended the workshop event held for two days. 8. Sumatera Cultural Promotion at Kennedy Center, "The Groove of Sumatra". In collaboration with the House of Angklung, Saroha and Rumah Gadang USA groups displaying the culture of Sumatra at the Millennium Stage Kennedy Center on October 30, 2017, re-introducing the richness of Indonesian culture to the United States Public, with the theme The Groove of Sumatra, the Embassy first featured the Art Group Saroha from the Community of North Sumatra that presents Dembas Simenguda Dance which tells about the harvest and the thanksgiving. Furthermore, the Group of Art House of Gadang USA in particular brought Garinyiak Si Jobang. House of Angklung that night featuring alloy angklung bring the songs of Sumatra, Bungo Jeumpa, Cicik Periuk, and Lancang Kuning. The three groups then collaborated featuring two Sing-Sing So and Kelok Sembilan songs. In the end, all the visitors are invited to play together singing the songs start from simple to quite complicated. The interactive method with naming the island on the setiao angklung and hand sign is very effective to introduce Indonesia (geographic, flora, fauna, etc.) to the public and visitors that night enjoy and appreciate this interactive event. Around 300 visitors, most of whom are mostly US citizens domiciled around the DMV region, are present enjoying the diversity of the Sumatran culture presented. 9. In the framework of promotion and series of National Batik Day celebration in 2017, which falls on October 2, the Embassy in cooperation with Rumah Indonesia (RI), Kid Museum and George Washington University held two activities, namely batik making workshop and Lecture and Fashion Show in Textile Museum. Regarding these 2 activities the event is as follows: a. Batik making workshop for children living around DMV on September 10, 2017 at Kids Museum (Maryland). The workshop was attended by about 60 children divided into 2 sessions. The participants came from local American children and children of museum members. In the workshop that attracted the participants' attention was the children introduced by simple technique of making batik by using canting and hot wax to draw the desired batik shape. In addition to canting techniques, participants also introduced how the batik coloring process. b. The Lecture / Fashion show program at the Textile Museum, held on October 2, includes a presentation on the plate motif selampad by designer Helen Dewi Kirana who has the NES label. NES displays a collection of selampad plates that are inspired by the old plate motif selampad in Cirebon. Helen displays this motif because it has a high philosophical value, but almost forgotten so it needs to be reappointed. The fashion show features 10 batik and NES shirt designs delivered by models from DWP KBRI, diplomatic princesses, diplomatic wives of friendly countries, Ira Wibowo and artists from Jakarta.

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10. Wayang Bali Promotion at Kennedy Center Washington DC, featuring Sutasoma story at Millineum Stage Kennedy Center on October 15, 2017, in collaboration with Bali Raga Kusuma (Richmond University) gamelan community and hosted by I Gusti Putu Sudarta, lecturer of ISI Denpasar. 11. The promotion of Indonesian culture in the Illumin Asia event, Smitsonan Institute, Indonesian Embassy brings Indonesia through janur workshops, culinary demonstrations and puppet shows in the festivities of the freer museum festival and the National Museum on 14-15 October 2017, which was attended by about 45,000 visitors. 12. Indonesia as Focus at Chantam University: Supernova Film Showcase on November 17, 2017 while on November 14, Supernova book discussion was held with author Dewi Lestari. The Kemdikbud Film Center helped finance the permit for the filming of supernovas. Supernova is a popular science fiction novel by Dewi Lestari. Dewi Lestari or familiarly called by the name Dee Lestari is one of the personnel of the music group Rita Sita Dewi (RSD). Supernova first published in 2001 consists of six books: a. Supernova 1: Knights, Princess and Stars Fall (2001) b. Supernova 2: Roots (2002) c. Supernova 3: Lightning (2004) d. Supernova 4: Particle (2012) e. Supernova 5: Waves (2014) f. Supernova 6: Morning Dew Intelligence (2016) 13. Klenengan Jawa, Award to Master Gamelan Embassy: Mr. Muryanto. Mr. Muryanto has been teaching gamelan at the Embassy of the Republic of Indonesia in Washington DC since 1994. In addition to teaching at the Embassy, he is also often asked to be a guest artist in various wayang / gamelan performances in various places in the United States, including New York, the University of Maryland, the University of Virginia, College of William and Mary, and Wesleyan University. Since August 2017 he was treated for cancer he suffered. This event was held by the students of Pak Muryanto to provide awards and fundraising support.

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APPENDIX IV. Transcript of Interview with Head of Coordinator House of Angklung Washington DC, January 12th 2018

Interviewer : Wilma Sukarna Putri

Interviewee : Head of Coordinator of House of Angklung Washington DC – Primadona Rifai

Wilma : Can you share the history of House of Angklung Washington DC? (When it was established, who established it, what are the purpose behind the establishment). Primadona : You can look at our website for the history.

Wilma : Vision and Mission of HoA (I already have this information from the website, but maybe Bu Donna can provide more about it and elaborate it even more?) Primadona : Our vision is simply everyone can make music together, even though you can’t play a single instrument. Our mission is to spread the joy of making music together through angklung. We want to show people that everyone can play angklung together, even when they are tone deaf.

Wilma : How many people are now joining HoA? And if there are any foreigners who joined HoA, how many of them and where do they from?

Primadona : We are the team of 24, so far, we have two members from the

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Philipines and US. In the past, we had team members who were guests and they were Bahasa Indonesia students to be placed in Indonesia as diplomats.

Wilma : Does HoA actively participates on concert or another activity that promote Indonesia through Angklung independently? (meaning that the events and activities are not related or conducted by Indonesian government) Primadona : Yes, we try to participate in every event we see fit for us and by invitations. We used to participate at Cherry Blossom Festival every year, now we let other culture group to perform there. We perform mostly by invitations now, and we will have our second concert in May 2018. We also are active in our program (supported by the Education Division of Embassy of Indonesia) called Angklung Goes To School (AGTS). You can find the information from the website as well.

Wilma : Putting it into percentage, how many percent HoA involved in concerts held by the government and how many percent does HoA involved in concerts to promote Indonesia through Angklung independently? Primadona : About 50/50.

Wilma : Does the Indonesia’s government directly or indirectly support HoA? If yes, is there any specific support that has been given by the government? (Like financial support, funding, or another)

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Primadona : We got support if we are invited through the Embassy of Indonesia. Sometimes we also got invitations from independent organizations.

Wilma : In case of Angklung Goes to School, who is the first one that initiated this program? Was it coming from HoA or the government? Primadona : The Embassy of Indonesia initiated the idea of Angklung Goes To School. We registered HOA to home county (Montgomery County) to be certified to teach angklung in school. Usually schools will call the Embassy and forward the information to us.

Wilma : The practice of AGST must have majorly conducted by HoA, talking about the government support, what kind of support is provided by the government? (like financial support, accommodation support, or another.) Primadona : We get support when we need to order angklung for schools, transportation sometimes needed if we need to carry lots of angklung. But most of the time, we do this independently.

Wilma : Does the whole of HoA members assume that the government support towards this organization is enough? Primadona : We have more than enough support for us.

Wilma : Talking about future, is there any future projects that HoA will do aside of its existing projects? (maybe the second PULAU Concert or breaking world’s record by having a larger amount of people playing angklung together) Primadona : We will have our performance in Albany, NY in January 2018,

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our second concert in May 2018, and performance in United Nations in April 2018. We will have the angklung maestro Sam Udjo to come for the concert and the performance in New York City.

Wilma : Do you think that through music or Angklung to be precise, HoA can help foreign audience to be attracted to Indonesia, having a good opinion towards the country, and maybe wants to learn more about the country? Primadona : Yes, we believe that international community gets to know Indonesia better through music. We don’t only introduce the music, but the philosophy behind the instrument as we stated in our website.

Wilma : HoA can be assumed to be promoting the Indonesian culture voluntarily, what makes this organization keep on going? What is the benefit that this organization and its members gain by doing such thing? Primadona : The glue in our group is the friendship and love for angklung. We gain friendships and music knowledge.

Wilma : Is there any expectations, suggestions, or recommendations for Indonesian government both in promoting the country’s culture or in supporting HoA or any similar organizations?

Primadona : Do not involve religion and politics when promoting culture. Promote the spirit and passion of the people not based on religion and politics.

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Wilma : As a person, do you believe that music can be a tool to bridge mutual understanding? Primadona : Yes, absolutely.

Wilma : Over all the manifestations of arts in Indonesian culture (like paintings, dances, etc) why you and the rest of HoA members specifically choose music to promote your country’s culture? (In this question or in the first question, you can explain your opinion towards music, how powerful it is, how it is a suitable medium to create peace, or another) Primadona : We independently were involved in many activities, but we somehow enjoy the friendship and the music playing. We all believe that our group is special because of our individualities and passion.

Wilma : Why you specifically choose Angklung despite all the traditional musical instrument in Indonesian culture? (maybe you can share the philosophy of angklung which you and the rest of the team believed in) Primadona : I fell in love with the philosophy of angklung (Harmony in Diversity), it is aligned with Bhinneka Tunggal Ika. A reminder that everything in this world are all connected and impacts one another.

Wilma : How does playing Angklung makes you feel? (does it gives you relief when you miss Indonesia?)

Primadona : It makes me feel accomplished that I participate in making great music and spread joy through angklung music. I miss Indonesia every day, playing angklung doesn’t make me miss

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Indonesia though. When we all go on vacation, I miss playing with the group, so it’s the people nd the vibrant of the group that I miss.

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