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 between reality and fiction within documentary photography.

In Indonesia, magic is real. Although a conservatively religious nation, mysticism and magic live side by side with major religions. Notably, regions such as 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 East Javanese society for centuries. Their current practices fuse indigenous beliefs with animism, Islam, and Javanese mysticism. They offer a range of services, including fortune-telling, matchmaking, physical healing, weather control, and even political consultations at the highest levels. In Banyuwangi, dukun proudly assert their supernatural abilities, gaining notoriety throughout Indonesia. 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 in 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 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.

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As I pursued this ethereal subject, it became important to separate the known from unknown. In this nonlinear collection of images, I have divided the unseen from the tangible world, which is inhabited by the living beings we can easily perceive – in this case, formalized subjects with a strong connection to the culture of the supernatural in Indonesia. Although I am an outsider with a camera, the power dynamics are notably different than normal. The subjects are very aware of the camera and the power it holds as an “objective” medium. They only show what they would like to be seen.

Shot primarily on film, the typology narrows visual boundaries to perceive all subjects on a similar level. Further classified in tarot card form, it becomes a collection of interconnected elements.

Just as important were the places that connect the physical to metaphysical worlds. In this visual exploration of the unknown and unnameable, a creative reality and subjective truth emerges for the viewer to reinterpret. Presented through a combination of infrared and experimental processing and printing, this psychedelic deep dive stretches beyond the visible and familiar.