An Icon of a Cultural Jakarta

KOMPAS/FRANS SARTONO

Anto Hoed

When he was asked to chair the Jakarta Arts Council Music Committee, Anto Hoed agreed to do so under the condition that Jakarta form a philharmonic orchestra. Surely enough, the Jakarta City Philharmonic (JCP) was born in November 2016. They are now preparing for their fourth concert on June 7 at the Jakarta Arts Building (GKJ).

Hoedarianto Hoed, or Anto, insisted that Jakarta have a philharmonic orchestra. He said that he did not seek popularity. Indeed, throughout his career, Anto has mostly enjoyed playing behind the curtains, away from fame.

“This is not for merely having fun or empty styles. This is actually important,” said Anto in an interview with Kompas while he was finishing his score for the film The Doll 2 at Crossfade Audio Post in Bintaro.

This is important as, for Anto, a symphonic orchestra is a medium for an intercultural meeting. The three Jakarta City Philharmonic concerts thus far were attended by diplomats from numerous countries, as well as figures and music enthusiasts from various backgrounds.

“In music, there is nothing separating friends and enemies. A cultural approach is important for political matters,” said Anto, who once accompanied his father, the late Benny Hoedoro Hoed, while he served as the Education and Culture Attache in Paris from 1979 to 1984.

Good music like symphonic music is hoped to foster a culture of politeness in behavior and words. Anto hopes the beauty and smoothness of symphonic music will encourage good behavior among its listeners, including in their political moves.

With the same intention, Anto plans to hold a festival of the nation’s traditional arts. Both symphonic music and traditional arts contain wisdom. “I hope that behavior can change through culture and through music. People can stand on different sides and that is okay. However, even in our differences, you are still my friend […],” Anto said.

Potret

Anto Hoed first gained popularity through his band Potret in the 1990s. The band consisted of him as on bass, his wife Melly Goeslaw as singer and songwriter and Arie Ayunier on drums. More recently, Aksan Sjuman joined the band as drummer.

For its time, Potret’s songs were deemed creative and rebellious. However, it is this fighting spirit that Anto and his friends consciously chose. “We want to get out of the usual pattern but we hope that people still receive us well,” said Anto about Potret’s creative principle.

Anto and Melly are a couple that complement one another. Anto can translate Melly’s ideas in the language of music. Melly has enjoyed writing creatively rebellious songs like Mak Comblang (Matchmaker) and serious ones like Kupu-Kupu (Butterfly) and Bunda (Mother). Anto translates Melly’s wild ideas into songs that fit the lyrics’ characters.

“It’s like when we decorate our house. Melly has a lot of paintings but she doesn’t know where to put them. I am the one who places them. If it doesn’t go with the room, Melly will say it to me,” Anto said, giving an analogy.

Before Potret, Anto joined a music group owned by the Brunei sultanate from 1992 to 1994. His experience with the group was like going to a real music school.

“I was trained by playing music every day. But I got bored because it was only for money,” he said, laughing. He was referring to the artists’ need for creative challenges.

Anto’s formal music school was the Jakarta Institute of the Arts’ music department, but he did not finish its program. He was also enrolled at the University of Indonesia School of Law. He did not finish that, either. Anto’s passion is indeed in music. He remembers how his father, who was a professor at the University of Indonesia School of Humanities, often played vinyl records of jazz numbers by Duke Ellington or Miles Davis.

Benny Hoed, who enjoyed playing the harmonica, needed a friend to play with him. “He then asked me to learn the guitar,” Anto said.

More than just learning how to play music, Anto ended up entering the music circle of noted jazz player Jack Lesmana. Anto learned to play bass from Benny Likumahuwa.

One time, Jack Lesmana fell sick and Anto offered himself to be Jack’s personal driver so he could learn directly from him. Despite not serving as Jack’s driver, he did learn from the man he called Om Jack (Uncle Jack).

As an academician, his father had doubts about his son’s decision to not finish college and instead play music. “My father was confused at seeing his artist son. He did not know whether or not I could support myself just by playing music. He was so moved and proud when I won the Citra for Ada Apa dengan Cinta? (What’s Up with Love?). He threw a party just to congratulate me.”

A Jakarta Icon

Anto has composed film scores since the early 2000s. Now, he has around 20 film scores under his belt.

Nowadays, Anto has found a new stage at the JCP, where he sits as commissioner along with Aksan Sjuman, Fafan Isfandiar, Totot Indrarto and Budi Utomo Prabowo, who also serves as conductor and music director.

Initiated by the Jakarta Arts Council for the Jakarta city administration, JCP’s concerts have always been supported by the Creative Economy Agency (Bekraf). Anto and his colleagues will strive to have JCP perform beautiful serenades in the city.

Anto said that he was quite satisfied by the positive public response for JCP’s concerts. JCP has had to reject 200 invitations due to building capacity. This is a good sign for the growth of music and musicians. “We have a music school but we lack in showcasing our talents. Showcases can improve players’ quality. The JCP can set a standard for music players.”

He said he hoped for symphonic orchestras like the JCP to breathe new life to cultured and tasteful city life. “The Jakarta City Philharmonic should be a Jakarta icon, no matter who the governor is. Even if I am not at the DKJ anymore, the JCP must still exist. I myself am not important,” he said graciously.