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The Everyday Resistance of Anarchist Punks in Bandung, Indonesia

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The Everyday Resistance of Anarchist Punks in Bandung, Indonesia University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2020 Under the Radar: The Everyday Resistance of Anarchist Punks in Bandung, Indonesia Steve Moog University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Critical and Cultural Studies Commons, Social and Cultural Anthropology Commons, and the South and Southeast Asian Languages and Societies Commons Citation Moog, S. (2020). Under the Radar: The Everyday Resistance of Anarchist Punks in Bandung, Indonesia. Theses and Dissertations Retrieved from https://scholarworks.uark.edu/etd/3625 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. Under the Radar: The Everyday Resistance of Anarchist Punks in Bandung, Indonesia A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Anthropology by Steve Moog California State University San Marcos Bachelor of Arts in Anthropology, 2012 University of Arkansas Master of Arts in Anthropology, 2015 May 2020 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. ______________________________ Jonathan S. Marion, Ph.D. Dissertation Director ______________________________ ___________________________ JoAnn D’Alisera, Ph.D. Ram Natarajan, Ph.D. Committee Member Committee Member ______________________________ Brent Luvaas, Ph.D. Ex-officio Member Abstract Amidst a current resurgence of hypernationalism across the globe, resistance movements and counterhegemonic ideologies are becoming increasingly visible and more common elements of broader socio-political discourses. While high-profile protests have ignited public interest in resistance movements—turning relatively unknown groups such as Antifa and Black Bloc into household names—little attention has been paid to the behind-the-scenes networks undergirding many of these organizations. Translocal do-it-yourself (DIY) punk rock networks are spaces in which alternative and subversive ideologies are enacted through the everyday implementation of anarchist philosophies and DIY ethics. Here, ‘under the radar’ modes of resistance are found in the lived realities, subjectivities, and transnational interactions of punks. Indonesia’s burgeoning punk scenes offer fertile ground for the exploration of such forms of resistance, and the nation’s status as a post-authoritarian, emergent democracy amplifies the ramifications of their enaction. Based on fieldwork conducted with a punk rock anarchist collective in Bandung, Indonesia, this dissertation considers the implications of DIY and anarchist ethics enacted through both routine interactions and global translocality. I argue that anarcho-punks in Bandung are resisting hegemonic power dynamics, in part, through co-opting the very structures they seek to circumvent. Taking the ideologies and epistemologies of those with whom I worked seriously, this work incorporates anarchist anthropology as both a theoretical and methodological imperative. I demonstrate that using a perspective that does not privilege the primacy of the ‘State’ reveals the formation of translocal identity as challenging and reshaping dominant sociopolitical and socioeconomic power. Acknowledgments I had every intention of keeping this short, but that did not work out so well. There are a lot of people to thank as this dissertation is group effort. First and foremost on the thank you list is my family. Thanks to my wife, Jamie, who has been there since the inception of this arduous academic trek. She has read more of my nonsense than anyone and has put up with more than is fair. I must thank my parents, Bill and Denise, for…well…everything. I could write a whole dissertation on the ways they have helped me; suffice it to say they did it all, and I am very grateful for everything. Thanks to my brother, Will, he has been my biggest cheerleader throughout my academic pursuits, and I have always appreciated it. My best pal Loogie gets thanks as well; he seems to always pop-up when he is most needed. Lastly on the familial acknowledgments, my good dogs, Sadie and Benny, both have provided much needed love and laughs. It is traditional to thank the people on your committee, but in this case, I actually mean it. My advisor, Jonathan S. Marion, met me when I was an undergrad and has mentored me ever since, which I am sure was easier said than done. I have gotten to write this dissertation because he gambled on me, and for that I am eternally grateful. JoAnn D’Alisera has provided invaluable guidance regarding my scholarship but has also looked out for me throughout my time at the University of Arkansas. Ram Natarajan has gone above and beyond his role as a committee member and has provided both feedback and inspiration. Brent Luvaas’ work has provided a catalyst for my thinking about anarcho-punk in Indonesia, and he was kind enough to be part of my committee. Thanks everyone, I really appreciate everything. I would also like to thank several people I met through the Society for Visual Anthropology. Specifically, Jerome Crowder, Stephanie Takaragawa, and Matthew Durington have all contributed to my progress in direct and indirect ways. I am very grateful for their help and encouragement. Another thank you is in order to the Society for Visual Anthropology/Robert Lemelson Foundation for funding my pre-dissertation fieldwork. They also gambled on me, and their support was integral to the completion of this project. I made a few pals during my time at the University of Arkansas; they have also contributed to this dissertation. Katie Serio, Cheyenne Lewis, and I had a writing group that was critical to the completion of this work. I really needed and valued their input: thanks guys. Ramey Moore and I met up and talked theory several times, and his suggestions and insights became the theoretical basis for this dissertation. No one else was talking about Graeber, but Ramey did. Thank you to Pak Frans Santo for his hospitality and guidance. A big thanks to Sue Howerton for keeping me alive through graduate school, which was no small feat. A quick shout out to the chumps at the poker room in Cherokee Casino Siloam Springs: thanks for the research funding. Lastly, but definitely not least, a huge thank you to the punks. Thanks to Sleeper, Buddha, and Sid in San Diego. Thanks to Faizal for the artwork. A massive thank you to the punks in Bandung, keep being inspirational. Dedication For the punks Table of Contents Introduction: 1 Welcome Under the Radar Chapter 1: 12 Theoretical Approaches for Understanding Contemporary Punk Chapter 2: 40 The Only Good System is a Sound System: Introducing the Project and Situating the Rumah Pirata Collective Chapter 3: 74 Everybody Say ‘Fuck Authority!’: Collaborative Visual Ethnography with Anarchist Punks in Indonesia Chapter 4: 106 Holidays in the Sun: Everyday Resistance in Unexpected Places Chapter 5: 138 A.C.A.B.: Academic Considerations & Applications, Broadly Conclusion: 154 DIY Ethics of Possibility Bibliography 159 Appendices Appendix 1: 173 Come Under the Radar: The Photo-story of Rumah Pirata Appendix 2: 224 IRB Approval List of Figures Figure 1 – A banner inside Rumah Pirata's music venue. Figure 2 – Reject performing at Kekesed Fest. Figure 3 – A graphic fixed to a wall in Rumah Pirata. Figure 4 – Bullshitting between bands. Figure 5 – Inside Rumah Pirata's main house. Figure 6 – A mural inside Klub Racun. Figure 7 – Hanging out in Perompak Record Store Figure 8 – Domesticrust live at Klub Racun. Figure 9 – The sound booth at Klub Racun. Figure 10 – The stage at Klub Racun. Figure 11 – Hellcity at Klub Racun. Figure 12 – "Education is for everyone, not only for yourself." A poster inside Rumah Pirata. Figure 13 – A Rolling Stone tribute band playing a Klub Racun. Figure 14 – Members of the collective painting the main building. Figure 15 – A banner inside Klub Racun. Figure 16 – The cover of the photo-book. Figure 17 – Road-weary punks. Figure 18 – The trek. Figure 19 – The view from Libertad. Figure 20 – Pyrate Punx from Bukit Bintang. Figure 21 – The flyer for Libertad XII. Figure 22 – A flyer for Krass Kepala’s European Tour 2018. Figure 23 – Co-optive Resistance Figure 24 – A symbol of anarchism spray-painted on a police post in central Bandung. Figure 25 – Peace from the punks at Pirata. Introduction: Welcome Under the Radar Bandung: A city of punks and prayer… - Lonely Planet 2017 Well, the cat is out of the bag. Even Lonely Planet knows that Bandung, Indonesia is a hotspot for punk rock. Over the years, I have talked with different people all over the world about my research, and many are surprised that punk still exists. Punk is not dead; in fact, it is alive and thriving in urban Indonesia and has been for some time. If you are tuned in to the visual cues of punk, it is difficult to wander around Bandung, Jakarta, Denpasar, or other major cities without seeing markers of the scene. I bumped into some teenagers who were misbehaving in the Dago area of Bandung, and one of them was extremely excited that the band shirt I was wearing and the backpatch on his jacket were both representing the same obscure punk band from Portland, Oregon.1 Indeed, the punks in Indonesia are numerous and plugged into the broader global punk rock scene. In fact, punk is so big in Indonesia that it would be absurd to talk about ‘punk’ as though it were a nice, neat homogenous cultural blob. I do not mean to suggest there are competing punk gangs or something of that nature. In my experience, punks identify as punks, broadly speaking. I have yet to come across groups of punks who refuse to associate with one another.
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