Ayam Cemani (Black Chicken)

In Indonesia, magic is real.  This project is a visual observation of the role of the supernatural and superstition within Indonesian societies, through the blurring of lines in authority, authorship, reality and fiction within documentary photography,

Although a conservatively religious nation, mysticism and belief in magic continue to live side by side with major religions. Notably, regions like Banyuwangi in East Java are renowned for their shamans and practices associated with black magic. This belief in the supernatural exerts a profound influence on daily life. 

Dukun, or shamans and traditional healers, have been central figures in traditional Javanese culture for centuries, and their current practices fuse indigenous beliefs with animism, Islam, and Javanese mysticism. The self-exoticizing identity becomes a source of authority within their own society. They offer a range of services, including fortune-telling, matchmaking, physical healing, weather control, and even political consultations at the highest levels. 

In Banyuwangi and Banten, dukun proudly assert their supernatural abilities. These areas have gained notoriety throughout Indonesia due to their association with the mystical. Their mention often elicits a mix of respect and fear. Most dukun adhere to a strict code of ethics that prohibits harming others, and they are said to have inherited their power from ancestors, enhanced through rigorous practice including meditation and fasting.

In cases of personal or communal disasters where rational explanations are elusive, blame is often attributed to black magic or external forces. This attribution can sometimes lead to retaliatory actions against those perceived as responsible. (dozens of shamans were murdered in Banyuwangi the late 90s) And in the last few years elements of black magic have been deemed illegal under the Indonesian criminal law code.

Whether magic holds the power of a placebo or is genuinely supernatural is up for debate. In Indonesia, as in many cultures, the reality of magic is as real as one wants it to be.

In this project, we use an investigative approach in the form of a curious layperson. The people involved present themselves, their powers and methods to the camera. Switching up the visual anthropology power dynamic, we let the subjects in front of the camera control what is being shown and what is not. Continuing this trend, I would like to present the photographs as a collection of ambiguous single images, held together through a story of make-belief, anecdotal evidence and unverified claims.

The role of documentary photography in this scenario is not to provide the facts beyond the story, but to provide a visual stage for the theatrics of magic. As a visitor, I am aware of the fact that I can only observe what is being presented to me and some form of deception is unavoidable.

I have been working on this story since about 2017, and plan to continue with several trips in the next few months to focus on different aspects of the story beyond portraits. New tangents in this story would include historical (Banyuwangi murders), forensic (investigation of magic items) and legal implications of magic in society. Through experimental methods such as infrared visualizations and moving imagery I want to perform a visual investigation into the supernatural. How much of it can be seen and shown? And how much of it is only our own interpretation of that? By questioning the role of photography itself and my role as an observer, I would like to reinterpret the notion of “truth” and “authority” in visual imagery.