ESAS Intersections Podcast

Paola Lazo proposes an alternative perspective that views reproductive and productive labor as integral parts of a unified system. She advocates for valuing and allowing both men and women to engage in both types of labor, enabling them to develop their capabilities and personalities.

Mexiverse we want to celebrate with you
“Mexico’s Month of Independence”.
Find out more about Mexico’s vibrant universe with some of the people that are creating a buzz around their communities and beyond.
Through podcasts, portraits and culinary programs you will embark beyond borders with MexiVerse.
A cosmic celebration that intertwines the vibrant tapestry of Mexico with the vastness of the universe.
Pa arriba, Pa abajo, Pal centro, Pa adentro!
Y que Viva Mexico!

Marisa Lazo, the founder of Pastelerías Marisa, shares her journey as an entrepreneur and her passion for empowering women. She says it's crucial to embrace new opportunities, keep learning, and grow as a leader. Marisa also values mindfulness and gratitude, promoting generosity. Her story aligns with MexiVerse's idea of celebrating Mexican culture while reaching beyond traditional limits. Marisa studied psychology but found her true calling in baking, echoing the MexiVerse concept of breaking boundaries.

Introducing Laurent Hardie, an educator with a passion for creating a better world through teaching and empathy. Growing up in a family of educators, Laurent developed a curiosity for learning and a nurturing personality.

She believes in creating a safe and inclusive learning environment where students can express their emotions and experiences freely, and where empathy is key.

how instilling respect and curiosity in students can raise a generation of caring individuals who can make a difference in their communities.

in Indonesian Language

Avin Nadir, known for establishing Desa Inggris Singosari, an innovation aiming to develop

communication skills and critical thinking through mastering a foreign language: English.

However, growing up with lack of access to education was a turning point for Avin.

It became his mission to provide others with quality learning to breaking the cycle of poverty and the dignity and freedom to learn.

ESAS Good Society covers the Human Capital Development program, which encourages critical thinking in the face of VUCA (Volatility, Uncertainty, Complexity, Ambiguity) to find solutions to improve ecosystems by reducing four major gaps: ecological, economic, social, and spiritual. ESAS T3L (Transformational Leadership Learning Lab) with selected fellows from various regions in the archipelago, participated in the learning journey through U Theory, which is a process that brings out the best in one self and collectively able to co-initiate and co-create prototypes for a new paradigm.
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ESAS Good Society mencakup program Human Capital Development mengajak berpikir kritis dalam menghadapi VUCA (Volatility, Uncertainty, Complexity, Ambiguity) mencari solusi bagaimana memperbaiki ekosistem dengan mengurangi empat kesenjangan besar: ekologi, ekonomi, sosial, dan spiritual. ESAS T3L (Transformational Leadership Learning Lab) dengan partisipan terseleksi dari berbagai wilayah di Nusantara bersama melakukan pembelajaran melalui U Theory, yaitu proses yang mempengaruhi baik secara pribadi dan kolektif menginisiasi serta mengembangkan (co-creating) prototype paradigma baru.
Fellows on Podcast:
Widie Nurmahmudy/ Traditional School of Kampoeng Batara (Banyuwangi)
Christoforus Atakita/ Member of AMAN (Ende, Flores)
Sri Tiawati/Traditional School of Punan Semeriot (Sekatak, North Kalimantan)
Yusrida Arnita, M.Sc/Environmental Services (Banda Aceh)
Donny Dwiputra, Ph.D. Quantum Physics (Bandung)
Irfan Efendi/Young Talent of Papring (Banyuwangi)
#ESAS #ESASGoodSociety #InspiringMinds #HumanCapitalDevelopment #LearningLab #UTheory #DialogueJourney #Creativity

ESAS dedicates this month of March on films as a creative art form. We have recently featured Indonesia’s legendary actress Christine Hakim on her role in the ‘The Last of Us’ , documentary filmmaker Arfan Sabran who shares his unique creative processes; and today 30 March, which is National Film Day, ESAS Intersections podcast with Debra Yatim, adding film critic to her multifaceted background journalist-writer-activist, provides great insights on the Indonesian Film industry.

Old film archives from the 1920’s show Dutch producers making films with all Indonesian casts. Debra observes that films have the power to shape people's perceptions and beliefs about their own culture and identity, making them a powerful tool for promoting cultural awareness and understanding.

Today, Indonesia has a vibrant film industry. She hopes that Indonesian film makers will continue to produce high-quality films that not only showcase the country's rich cultural heritage and unique stories but also resonates and speak to a global audience.

Dedikasi Arfan Sabran untuk menghormati subjek cerita tercermin dalam pendekatannya terhadap pembuatan film dokumenter. Metode dokumenter observasional ini memungkinkan subjek untuk berbicara sendiri tanpa adanya intervensi. Arfan mengabadikan momen paling jujur ​​dan autentik serta menciptakan narasi yang kuat dan memikat.

Sebagai pembuat film independen, Arfan sangat menikmati proses kreatif dan produksi, yang dapat dia pelajari dari para kolaborator di kalangan pembuat film dokumenter internasional. Baginya, ‘pitching’ adalah bagian penting dari proses, karena membantu meyakinkan orang untuk berinvestasi dalam visinya serta mewujudkannya. Dia menekankan bahwa ‘pitching’ yang baik harus singkat, jelas dan atraktif untuk menarik perhatian pendukung potensial.

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Arfan Sabran’s dedication to respecting the subject of the story is reflected in his approach to documentary filmmaking. This observational documentary method allows the subject to speak for themselves without intervention. Arfan captures the most honest and authentic moments and creates a powerful and compelling narrative.

As an independent filmmaker, Arfan enjoys the creative and production processes, which he can learn from collaborators among the international documentary filmmakers. For him, pitching is an essential part of the process, as it helps convince people to invest in his vision and bring it to life. He emphasizes that a good pitch should be concise, clear and captivating to capture the attention of potential supporters.

Arfan Sabran tidak tergesa-gesa dalam membuat film dokumenter: bisa selesai dalam 6 bulan, ada juga yang masih berlangsung sejak dimulai 4 tahun yang lalu. Sabar, fokus dan respek pada subjek. Cerita berkisar isu lingkungan, orang-orang yang inspiratif, tapi terutama, ia mengangkat isu orang-orang yang termajinalkan.

Arfan, sineas dari Timur Indonesia, Makassar, mengawali debutnya dengan film dokumenter "Suster Apung" yang pada tahun 2006 meraih Eagle Award.

Tahun 2022, Arfan bersama tim nya berhasil meraih Excellence Roughcut Pitch di DMZ International Film Festival di Korea Selatan. Pada tahun yang sama film “Ininnawa: an island calling” Piala Citra Film Indonesia juga diraihnya. Film ini digarap selama 12 tahun dan merupakan kelanjutan dari "Suster Apung".

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Arfan Sabran is not in a hurry to make a documentary; it can be finished in six months, and some are still ongoing since they started four years ago. Patience, focus, and respect for the subject. The story revolves around environmental issues, inspiring people, but especially raising the issue of marginalized people.

Arfan, a filmmaker from Makassar, Eastern Indonesia, made his debut with the documentary film "Suster Apung" which won the Eagle Award in 2006. In 2022, Arfan and his team won the Excellence Roughcut Pitch at the DMZ International Film Festival in South Korea.

In the same year, the film "Ininnawa: an island calling" won the Indonesian Film Citra Award. This film was worked on for 12 years and is a continuation of 'Suster Apung'.

Debra Yatim is a journalist by training and an activist by heart. Living in the highly charged melting pot that is Jakarta, she, like everyone else, comes from a mix of culture, being born to an Acehnese father and Manadonese mother. That said, a true Indonesian.

As a fulbrighter, she has worked for various Australian and Indonesian media outlets, including the Jakarta Post. And as a translator and editor, she has completed many short stories and long fiction, poetry and news items. In fact she has published four of her own poetry books. She is contributing editor for Tempo English in Indonesia and is currently writing a series of one-woman plays on polygamy; and a new collection of poetry on the issues of climate change, not to mention she went back to being a student and is about to complete her degree in film studies at the Jakarta Arts Institute.

It was on one of her assignments as a journalist that she came to understand the problems of marginalized people. Driven by compassion and a profound sense of justice, she became active in advocating the rights of women and minority groups.

An avid reader, Debra points out that Indonesian literature since the “Literates of Olden Times” generation tend to ignore the contribution of women writers. “This is intolerable!” she shouts out loud. And as if that is not enough she observes that there is also a popular misconception that says Indonesians that do not write in Indonesian, isn’t considered Indonesian literature. “This is stupidity!”

Freda is curator and writer whose transdisciplinary work focuses on performance and new media art.

Her current research project as a fellow of the Austrian Academy of Sciences approaches contemporary performance in an East Asian context. She is the initiator and curator of the festival "The Non-fungible Body?" in Linz, Austria.

It is intended to speculate on the idea of the bodies of artists and audiences in performance. Relating its title to contemporary digital jargon, the festival program moreover thematised the intersections of body and archive, and questions of live art and performance in a museum context. The program is conceived as a biennale format with its next edition in 2023.

Artists are essentially truth seekers and they are moved by major disruptions in their surroundings or the universe at large or they moved by a certain irrepressible vision of what is to emerge. They can’t help themselves other than to express their beliefs in some art form or rolled into an influencing movement.

Their voices are evocative, in fact disruptive, evoking discomfort in societies but most often for the better.

Arahmaiani is that!

Many countries are curious to see her work, to hear her views and her latest movements.

She has spent more than 20 years moving between cities and countries from Asia, Europe and the US. But in recent years, she has worked closely with Buddhist monks in Tibet on environmental issues.

She has returned countless times to the Tibetan plateau, which she calls “coming home” and tirelessly engaging with the local community working on reforesting through mass tree planting, addressing clean water needs, water management and assisting communities obtaining the many benefits from yak cooperatives.

In at least the last ten years, through her creative force she encouraged and facilitated transversal dialogue to rebuild ecological awareness within communities.

Dutch born visual artist, Mella Jaarsma has made Indonesia her home base. A co-founder of the influential Cemeti Art House, she is very much engaged with the artistic sphere in Yogyakarta where much of her art pieces are created, and exhibited in important platforms from the National Gallery Jakarta to the Venice Bienalle. Mella’s art is always ‘moving’. Her work takes on an anthropological perspective: curious and respectful but, of late, deeply social if not political. In its expression, it is subtle, non-confrontational, clearly decolonizing - triggering us, the viewer, to ask questions, especially when the reality of the past makes for an unsettling feeling when seen from the context today. Her pieces are complex costume installations which reflect her peculiar way to address issues that captures her attention. From everyday objects, to almost extinct animals. Mella also brings to fore her subjects in a way that is evocative, enveloped with a strange or quirky sense of humor. Her focus is on forms of cultural and racial diversity out of the function of clothing and the way applied on the body.

Jared Jonathan Luna is a dance artist and aspiring memelord from Manila, Philippines. As an artis-anthropologist, Jared is interested in vernacular movement vocabularies in urban spaces. Trained in street dance, contemporary dance and dance theater techniques, Jared engages with his research by producing and performing movement-based performances. By spending time on social media, he explores the way that TikTok mediates dancing between physical and virtual spaces using the emojis as a new type of dance notation.

For the next four episodes ESAS is collaborating once again with IDF Indonesian Dance Festival. Inés Somellera is having conversations with four International and Indonesian choreographers and an International curator about their creative process in relation to Rasa - Beyond Bodies which is the Festival Theme.

Pichet is trained in Thai Classical Mask Dance Khon from the age 16 with Master Chaiyot Khummanee and over the past 15 years has earned domestic notoriety for challenging tradition as shown by his efforts in contemporizing Khon Traditional Dance. Through his company “Pichet Klunchun Dance Company”, he produced many notable works participating in intercultural performing arts festivals in North America, Asia, and Europe. In April 2014, he was awarded the John D. Rockefeller 3rd award by the Asian Cultural Council.

For the next four episodes ESAS is collaborating once again with IDF Indonesian Dance Festival. Inés Somellera is having conversations with four International and Indonesian choreographers and an International curator about their creative process in relation to Rasa - Beyond Bodies which is the Festival Theme.

Arco has studied dance and theater with experts in traditional arts in Europe and Asia. In 2000 he founded his dance company Kobalt Works in Brussels, Belgium, and since has created numerous contemporary dance works in Europe and Asia. Pushing boundaries, his artistic exploration has taken him to co-create with institutions and art centers worldwide.

Her voice became a beacon of hope in the 80’s during Suharto regime at a time when Indonesian Art scene was populated by superheroes fighting for social justice and environmental issues.

Possibly the first image that was seen globally was the artist wearing a traditional Balinese costume and headdress, sunglasses with a plastic gun, and a sign “Nation for Sale” behind her. As an artist, writer, and social activist she explores the intersections of Indonesia's reformation and a broadening global discourse for art, often drawing upon the surrounding social, cultural and political situation, and her personal experience.

Arahmaiani discusses her activism from a trans-disciplinary, non-binary, and non-confrontational perspective. A "global nomad" - as she describes her life, moving between cities and countries with different cultures, is an experience that has formed her social consciousness and has manifested in her work. As an artist, writer, and social activist she explores the intersections of Indonesia's reformation and a broadening global discourse for art, often drawing upon the surrounding social, cultural and political situation, and her personal experience.

In the first journey of ESAS Intersections Podcast, let's deep dive in the minds of our founders, Inés Somellera and Felia Salim, and come to the surface of the birth of ESAS.