The Use Of Picture-Story For Reflecting The Heritage Of The Floating Markets In Banjarmasin

THESIS

The Use Of Picture-Story For Reflecting The Heritage Of The Floating Markets In Banjarmasin, South Kalimantan, Indonesia Anthony Kosasi KOS15470316

1

Figure 1.1 The Lokbaintan floating market (2017).

2

3

4

TABLE OF CONTENTS

ABSTRACT ACKNOWLEDGEMENTS INTRODUCTION Background The History of The Floating Markets in Banjarmasin, Indonesia The Cultural Experience and Challenges of the Floating Markets in Banjarmasin

6 7 10 10 11

Research Aim, Objectives & Question Research Goals & Objectives Research Question Potential Outcomes & Beneficiaries

19 19 19 19

DESIGN RESEARCH & RESEARCH METHODOLOGY Design Research Project Management Double Diamonds

22 22 22

Research Methodology The Research Onion Research Choices & Time Horizons Data Collection Methodology Primary Research Observational & Ethnograpical Research Interview Secondary Research Case Studies

23 24 24 26 28 28 29 29 29

5

Literature Review Cultural Tourism & Heritage Tourism Studies Cultural Tourism Heritage Tourism Cultural Heritage Tourism Heritage Conservation Cultural Heritage Tourism of the Floating Markets in Thailand Damnern Saduak Floating Market Amphawa Floating Market Photography Documentary Photography

30 30

DISCUSSION Findings The Truth and Challenges of the Floating Markets of Banjarmasin, Indonesia The New Floating Market Shaped by Local Authority Same But Different The Importance of the Heritage Value Conservation Future Plan

45 44 46

CONCLUSION Final Outcomes

56 57

BIBLIOGRAPHY

61

30 30 31

31 33 35 36 36 36

47 50 52

53

ABSTRACT The Use Of Picture-Story For Reflecting The Heritage Of The Floating Markets In Banjarmasin, South Kalimantan, Indonesia (2017) Anthony Kosasi Master of Arts in Design Management and Cultures, University of the Arts London, London College of Communication In essence, the floating market is a cultural representation of the Orang Banjar or indigenous people of Banjar. The traditional value of the floating markets which represents the Orang Banjar’s intimate relation to the rivers subsequently has developed into a tourism due to the tourist’s demands. The unique boat journey enables tourists to experience the traditional way of life and see the floating markets, rivers and countrysides from the point of view of locals who have used these rivers and markets for trade for centuries.

However, recent changes in infrastructure, including the building of the new roads has altered the traditional use and relationship with the rivers and waterways. In order to keep the floating markets from deteriorating, the local authority in Banjarmasin have introduced the new shape of floating market.

This dissertation employed qualitative methods, combining observational and ethnograpic research, in-depth structured and un structured qualitative interviews as primary data collection tools. The established practices of selective case studies could be used as an insight by the local government to preserve and develop the floating markets

without sacrificing the heritage value The fieldwork was conducted in Banjarmasin, Indonesia from July – August 2017. The result shows that the new shape of floating market has remained debate and uncertainty whether the floating market has to be presented as a local culture of the Orang Banjar or a tourist attraction.

The Use of Picture-Story for reflecting the Heritage of the Floating Markets in Banjarmasin, South Kalimantan, Indonesia focuses on the usage of black and white documentary photography to capture, conserve and show the authentic value of the floating markets to viewers. The project also explores the importance of the heritage value conservation since the value itself cannot regenerate naturally without involving human’s efforts.

Findings also indicates the respond of the researcher to preserve the original value of the floating markets by establishing a final outcome. A photography book of the floating markets is invoked as an artefact that has a potential to reflect nostalgia and provide a wealth knowledge of traditional values and meanings of the floating markets to the viewers.

6

ACKNOWLEDGEMENTS

The completion of this dissertation would not have been possible without support and guidance from many individuals and institutions. I owe an enormous debt of gratitude to all of them.

First of all, I would like to express my sincere appreciation to Sara Ekenger, my advisor, for her guidance, support, feedback, and patience to help me complete of this dissertation.

Appreciation is extended to Dr. Mark Ingham, Louise Healy for their counsel and encouragement as well as valuable insights to improve my study.

Special gratitude is extended to Catherine James for being accessible and supportive for helping me in the theoretical aspects of executing the research instruments in the field.

I consider myself extremely fortunate to have worked with such a helpful and understanding committee. Special appreciation to the Mayor of Banjarmasin, Mr. Ibnu Sina who kindly have shared his insights about the floating markets in Banjarmasin.

7

I owe a special thanks to the all officers of London College of Communication who assisted me during my study in LCC, particularly in printing materials, counselling and student advisers. I would also like to express appreciation to all participants in this study who kindly volunteered their time and provided me with invaluable personal and community information.

I would also like to thank fellow graduate students who have endured the dissertation process with me, especially Nadine Truyol who always encourage me to improve my works as well as inspired me by her valuable insights and knowledge. I would also like to thank to my lovely friends in London, Bernadette Wijaya, Jack Steven, Wilson Harlan who always support me to finish this dissertation.

Last and most importantly, my heartfelt appreciation goes to my family, especially, father, siblings and aunt, who have made it possible for me to pursue this degree by supporting me mentally and financially. I am deeply grateful for their dedication, love, and understanding throughout my years far away from home. This dissertation is dedicated to my beloved mother who is now in heaven.

8

INTRODUCTION

9

Introduction

BACKGROUND The History of The Floating Markets in Banjarmasin, Indonesia Banjarmasin is the capital city of South Borneo Province, Indonesia. The city was actually known as Bandar Masih (meaning the port of the Malay in Dayak Bukit dialect) and founded in around 1526 after Prince Samudera successfully led the Banjar Kingdom to conquer the essential river paths and dethroned his uncle, Prince Tumenggung of Daha Kingdom with the reinforcement of Javanese Sultanate of Demak in sixteenth century (World Port Source, 2017). When Prince Tumenggung finally surrendered, Prince Samudera decided to began his new Islamic Kingdom of Banjar. His day of victory was then celebrated as Banjarmasin’s birthday.

According to the Mayor of Banjarmasin (2017), based on the knowledge of the Orang Banjar or the indigenous people of Banjar, the name of Bandar Masih gradually became Banjarmasin because the water tastes salty when in the dry season (salty means masin in Banjar language). Banjarmasin then became the centre of the commerce and culture (Nawawi et al., 1986). Banjarmasin was the main city of commerce and frequently visited by traders from other parts of Indonesia and further afield (Nawawi et al., 1986).

Geographically, the city of Banjarmasin is surrounded by many rivers and canals (Nawawi et al., 1986), which have been the lifeblood for Orang Banjar, especially for those who have settled on the banks. Banjarmasin is located between the Martapura and Barito rivers on the delta island of south coast of Borneo island. The Martapura and Barito are the important rivers in Banjarmasin.

They play a vital role for providing water transportation, supporting commodity, commerce and tourism. According to Mayor of Banjarmasin (2017) The Barito river has been a vital component in of Banjarmasin’s governance and civilisation since it was part of the Banjar kingdom, And, the Barito river was also believed as the original location of the first floating markets.

Historically, the Orang Banjar have been socially and economically connected to the rivers. In the past, the Orang Banjar worked as farmers and used the rivers to transport their agricultural goods. By pulling the oars to move a jukung, they traded a wide range of agricultural products, such as vegetables and fruit from one house to another house via the rivers and canals.

There was also a unique method of trading that occurred amongst the traders, which was called bapanduk or non-money barter. Apart from visiting other neighbourhoods to sell their harvests, the local vendors also scheduled social occasions with other traders that took place on the Barito river.

Over time, the region became a river network and developed into the natural floating markets. This first floating markets then is known as Muara Kuin floating market since it developed close to the Muara Kuin area.

Ultimately, after Pangeran Samudera or Prince Samudera became a successor of the Banjar Kingdom approximately in 1526, this traditional economic activity then gradually developed into now well-known floating, which were key to the economy of his dynasty (Mayor of Banjarmasin, 2017).

10

The Cultural Experience and Challenges of the Floating Markets in Banjarmasin The Muara Kuin floating market in Banjarmasin, Indonesia has had a fundamental role in constructing the city’s history and identity. The Mayor of Banjarmasin (2017) emphasises that the Muara Kuin floating market genuinely was not created to attract tourism. The Muara Kuin floating market developed from trade and is intimately connected to the local culture of the Banjar.

However, this floating market has gradually become tourist attractions, responding to the curiosity of tourists and their desire to participate in and experience authentic local culture and heritage.

However, the Mayor of Banjarmasin (2017) explains that the Lokbaintan floating market and Muara Kuin floating market are different.

The Lokbaintan floating market is administered by the Pemerintah Kabupaten Banjar or Council of Banjar, primarily for tourism. The Local Council of Banjar worked with the locals (especially the people who live on the banks) to provide a jukung or a traditional boat for tourists, which is allowing the travellers to visit the Muara Kuin and Lokbaintan floating markets in a traditional way (by having an on-boat river journey).

This boat journey enables tourists to experience the traditional way of life and see the markets, rivers and countrysides from the point of view of locals who have used these rivers and markets for trade for centuries. At the Muara Kuin and Lokbaintan floating markets, the visitors see a wide range

11

of products including agricultural goods, ready-to-eat foods and souvenirs displayed for sale on the boats. When on the boat, the visitors experience a unique atmosphere in which the traditional boats jostle against each other. According to Suriana (2017), one of the sellers in the Lokbaintan floating market, says the tourists also witness a unique local practice which is termed as a bapanduk or bartering the agricultural products without using money between traders.

Recent changes in infrastructure, including the building of the new roads has altered the traditional use and relationship with the rivers and waterways. Vendors are now encouraged to participate in non-floating markets (Mayor of Banjarmasin & Bustan, 2017).

At the same time, the City Council of Banjarmasin (Pemerintah Kota Banjarmasin) dedicated to support the floating markets n Banjarmasin by introducing a new type of a floating market. This new floating markets is known as Siring Tendean floating market because it is located at Siring Sungai Martapura along the bank of the Martapura River on Pierre Tendean Street, Banjarmasin.

The psychical layout of the Siring Tendean floating market provides a new method of trading and greater accessibility for tourists.

This floating market has gradually become famous and frequently visited by multiple tourists. But, the popularity of Siring Tendean floating market obscures the traditional roots of the floating market since this market is altering in to a commercialised market and focusing on visitor numbers.

Introduction

Figure 1.2 The river network became a local community, which is known as a floating market nowadays (2017).

12

Figure 1.3 The local trader uses a traditional boat (jukung) as water transport to distribute her agricultural goods (2017).

13

Introduction

Figure 1.4 The traditional way of trading called bapanduk or non-money barter amongst the local vendors (2017).

14

Figure 1.5 The situation and condition of the Lokbaintan floating market (2017).

15

16

Figure 1.6 The floating market is a representation of the genuine culture of the Orang Banjar (2017).

17

Introduction

Figure 1.7 The new type of a floating market, it is located in the city centre of Banjarmasin (2017).

18

RESEARCH AIM, OBJECTIVES & QUESTION Research Goals & Objectives The intent of the project is to propose specific actions (presenting the cultural heritage of floating market) which provide benefits to the society (Jones, 1987). The overall aim of the floating market research has three core interwoven strands presented in part as a photographic portfolio and supported by strategic argument for a design policy on the preservation of the floating markets. The core strands are:

To use the idea of picture-story and decisive moment by Henri CartierBresson to capture an important moment in the precise time and reflect the nostalgia to the viewers.

To give recommendation based on established practices of cultural heritage preservation and tourism which could be used by the local government to preserve and develop the floating markets without sacrificing the heritage value.

To establish a legacy of the floating market in Banjarmasin, Indonesia.

To apply the notion of photography as a representation and photographic documentation to reinforce the notion of cultural and heritage tourism studies.

Research Question How can a photographic book be a legacy to represent the culture of the floating market?

To investigate the cultural heritage tourism and heritage conservation studies.

How do photography and cultural and heritage tourism studies provide a narrative to support preservation, conservation and tourism development?

Objectives: To preserve the traditional values and meanings of the floating markets in Banjarmasin, Indonesia.

To use documentary photography to capture and show the authentic value of the floating markets in Banjarmasin, Indonesia.

Potential Outcomes & Beneficiaries Tangible outcome (including a book of photographs or written insights)

To curate the series of photographs into a book of photography which is intended to provide a better public understanding regarding the value of the floating markets.

19

20

DESIGN RESEARCH & RESEARCH METHODOLGY

21

Design Research & Research Methodology

DESIGN RESEARCH Project Management

Double Diamonds

Project management is a core element in all of the frameworks of this project.

Thomas (2009) explains that the notion of management is more important to a project rather than the work itself. Management incorporates all of the frameworks and timelines and allows the researcher to have an organised the workflows and ensure the project would be completed in the precise time. Young (2003) defined the project management as a system or process to reach the grounded objectives by employing the proper strategies or methods.

In the first phase of the process of development of the project, the double diamond is conducted to clarify the clarity of the direction of the research. This diamondsshaped diagram is used to formulate and set up the divergent phases of the whole frameworks (Design Council, 2015), which is divided into four distinct stages, to discover, define, develop and deliver.

The discover stage involved the use of primary research methods, such as observational research to experience and understand the personalities and characteristics of the local vendors in the floating markets. Observation was also conducted to record the floating market’s situation and condition by using the techniques of documentary photography techniques. The interview techniques are also an essential tool in this phase.

Figure 1.8 The Double Diamonds Diagram. Adopted from Design Council 2015.

22

The main aim of the face-to-face interview method is to explore the current development and challenges of the floating markets based on the insights of the local government and vendors. The secondary research (literature review) was done simultaneously with primary research. This discovery stage was completed approximately in two months (July and August).

In the second stage, the principles of project management (such as, time management, project phasing and planning and project risk management) were applied in order to organise effective management frameworks and achieve the satisfactory standard of quality of the final project outcomes (Best, 2010). Thus, all of the data and information are analysed throughout standardised research to check the validity and reliability (Flick, 2007).

A selection of case studies of heritage preservation and tourism development studies based on established practices of the Thai’s government was used to provide a big picture in heritage conservation and develop the floating markets in Banjarmasin, Indonesia.

23

The third phase included the use of project development which focuses primarily on the design process of the Banjarmasin’s floating market photography book. This creative process is framed by the principles of graphic design, for example, editorial design and printing skills.

According to Vignelli (2010) the notion of graphic design theory is a fundamental discipline or methodology for supporting the creative processes of design and controlling the consistency of design work from the beginning to the end. For instance, the operation of grid system theory in graphic design provides the syntactical instrument for text arrangements in the editorial (layout) design.

The final stage (Deliver) comprises the deadline of the research. The research has to be submitted on 17th of November 2017.

This stage also required all the students to exhibit their own works during the graduation show in the London College of Communication. After that, the evaluation and assessment would be done by the tutors.

Design Research & Research Methodology

RESEARCH METHODOLOGY The Research Onion

Research Choices & Time Horizons

According to Saunders et al. (2007), the research onion is intended to describe the initial stage of project frameworks and guide the researcher in formulating an effective methodology. The diagram below shows the structure of the research methodology of this study. The research onion deliberately illustrates each of the important stages that are undertaken by the researcher for understanding the philosophical assumptions and selecting the appropriate data collection methods.

The research choices includes the combination of the primary (such as, observational and ethnographic approach and interview techniques) and secondary research (including cultural heritage tourism studies and documentary photography) to collect the data. The idea of using primary research is to support the researcher concentrates in gathering the vital data based on human’s perspectives, such as the biography, traditional values of the Orang Banjar which have been intimated by the importance of the rivers.

First of all, the interpretivism or social constructivism in research philosophy allows the researcher to understanding that the research philosophy can be used to explain the inherent assumptions in the research process and how it fits in the methodology.

The inductive approach enables the research findings (qualitative data that has been collected) to be analysed without restrained by structured methodologies (Thomas, 2003) In order to ensure that the research findings are usable, the researcher has make decisions about what is more important and less important in the data. The qualitative technique is used in this research to provide the insights which can be used to provide the hypothesis and possibly relieve the problems. Cohen, et al., (2000) states that the qualitative approach is efficient to understand the social phenomena and experience of the particular group or society.

Qualitative research through effective interviewing and observation techniques is believed to gain the concrete data based on the local authority and vendor’s viewpoints and uncover the deeper issues occurring in the floating markets.

On the other hand, the secondary research (literature review) is more focused on investigating of the well-grounded and established practices about the cultural heritage tourism and heritage conservation studies. These studies can be used for inspiring the new emerging insights to support the heritage value conservation.

While the use of documentary photography is aimed to provide a better public understanding regarding the value of the floating markets and possibly reflect a nostalgia via the use of black and white picture-story.

The concept of empirical research is mentioned in this research to clarify that the data collected by the respondents (especially, the local traders) is temporary. As Cahoy (2017) states that the information can be shifted since the situation and condition swiftly changing. This research involved the structured interview with the Mayor of Banjarmasin to provide credible facts and information regarding the issues occuring in the floating markets of Banjarmasin.

24

Figure 1.9 The Research Onion. Adopted from Saunders et al. (2007)

25

Design Research & Research Methodology

DATA COLLECTION METHODOLOGY

Understand Problem

Conceptual Framework

Research Methodology

Inductive Research

According to Creswell (2014, p.3), research methodologies or “research approaches are plans and the procedure for research that span the steps from broad assumptions to detailed methods of data collection, analysis, and interpretation.�

Data Collection Method

Primary Data Opinion Qualitative

Empirical

This chapter is the crucial part of the dissertation. The diagram above comprises the whole research schemes and frameworks. This diagram particularly emphasises in research philoshophy, data collection methods and processes including the use of primary and secondary research and literature review.

Archival

Figure 2.0 The Research Methodology Diagram, adopted from (Creswell, 2014).

26

Formal & Informal Interview

Observation Ethnography

Literature Review

Case Studies

Analysis

Documentary Photography

Cultural & Heritage Tourism Studies

27

Design Research & Research Methodology - Primary Research

Primary Research The objective of this chapter is to establish the main research methods for gathering important data during the research process.

Creswell (2009) stated that the research methodology is pivotal to shape a framework or procedure in studies. It also comprises analysis, interpretation and data collection.

Due to the deficiency of the publications about the floating markets in Banjarmasin, this research involved the combination of both the primary (including observation and qualitative research through interview) and secondary research (by taking the additional information regarding the floating market from magazines, journals or trusted websites).

In the end, all of the data collection which is based on the text and writing from the field notes would be analysed and accessed in specific treatments of qualitative research method in order to gain the concrete context for understanding the subject of the study.

Observational and Ethnographic Research As Creswell (2009 notes that the purpose of doing qualitative research is to explore, analyse and understand the experiences (including biography, history or personal viewpoint) of the individuals or groups of the people. The initial approach to understanding and experiencing social processes in particular groups as they are happening is trough observation and ethnographic research.

According to the Patton (2002) the advantage of utilising observational research allows the observer to investigate and identify the essence of ethnographic and anthropological

of the communities and also the impacts that are occurring in specific situations. Patton (2002) suggests, the merit of doing direct observation is to learn what regarding the personality of interviewees before conducting the live interview. Indeed, the interviewees may be reluctant to share the information, especially with a stranger.

Galeano & Ritchin (2001) believe that spending more time with people is becoming paramount in order to establish a relationship of trust to them. At the same time, the observation technique allows the researcher to record and study the traditional way of lie and behaviour of the local traders in natural surroundings.

Pink (2001, p.8) defines the ethnography as a “process of creating and representing knowledge” of society, culture and individuals degrees. The ethnographic research is also recognised as the ethnographer’s interpretations and experiences which are intended to reveal the knowledge, reality and representation of the human experiences that are commonly written on the notes (Crotty, 1998 quoted in Pink, 2001) and captured by using photographs or videos.

In terms of data collection, ethnography usually requires the researcher to immerse himself in people’s daily lives for an extended period of time (Fisher, 2010). The ethnographic technique in this research involves the researcher to watching what is happening in the floating markets, listening to what are local vendors saying and explaining, and asking questions through informal interviews, writing and collecting written documents. It also essential as a following stage for the researcher to record all

28

of human interactions (between vendors and purchasers) or even the unique phenomena that is occurring in the floating markets area.

Interview The interview technique is one of the most effective data collection approaches that reflects people’s points of view and reveals their reality (Punch, 1998). The aim of direct interview to this research to collect the accurate understanding of the floating markets in Banjarmasin, Indonesia based on the insights and knowledge of the Local Council of Banjarmasin and local vendors.

Qualitative research through effective interviewing is believed to gain the concrete data based on the local vendor’s viewpoints and uncover the deeper issues occurring in the floating markets. However, Creswell (2009) argues that there is deficiency of using the interview technique due to the inconsistency. The data that has been collected that is based on the vendor’s opinions can be biased and sometimes results in a incoherent answer.

Thomas (2009) emphasises, in order to avoid a wide range of the distinctive assumptions, the researcher must understand his position as a “naturalistic” observer which means that he should be impartial during the observation and face-to-face dialogue. The objective of the researcher is pivotal to acknowledge and filter the important points during the discussions with the participants.

Moreover, the ethnographic researcher has to understand that he is observing and interviewing the proper respondents which are reliable to provide an accurate data.

29

This project conducted two different types of interview techniques. The first method is a semi-structured interview, which was conducted to gather the insights from local vendors in the Lokbaintan floating markets.The semistructured interview was chosen because it is believed that the fusion of closed and opened questions throughout casual dialogue approach is effectively to tackle the interviewee’s anxiety (McNeill and Chapman, 1985). This informal interview was conducted in Indonesian transcripts and involved around five selected local vendors.

The research also included in-depth, structured interview with the Mayor of Banjarmasin. The discussion explores and identifies the insights of the mayor as a key actor in developing the potential of the floating markets in Banjarmasin.

The formal conversation was targeted to gain the data about the backgrounds, current circumstances, issues of floating markets and the explicit endeavours of government to develop, preserve, promote and assist the floating market’s conservation and future planning.

The formal interview was conducted in Indonesian transcripts and lasted approximately in one hour.

Secondary Research Case Studies As Creswell (2009) remarked that the case studies as a strategy to investigate a variety of profound data collection (in terms of specific endeavours, programs or processes). This research involves multiple insights and understanding in

Design Research & Research Methodology - Secondary Research

development process of floating markets in other South East Asian countries.

Since the Damnern Saduak and Amphawa floating markets in Bangkok, Thailand have a similarity (in terms of the the floating market’s characteristics) to the Banjarmasin’s floating markets, the case studies is intended investigate the methods and procedures by the Thai’s governments in preserving and improving of the Thai’s historic floating markets.

Another section of this secondary research includes the cultural heritage tourism studies as a profitable material to provide the inspiration in improving the cultural heritage tourism and tourist attractions in the floating markets in Banjarmasin, Indonesia. The cultural heritage tourism studies underscores the importance of the conservation of the heritage to potentially reflect the nostalgia as a place for knowing the roots Literature Review According to the Hart (1998), “the literature review is integral to the success of academic research.” Since the literature review is a fundamental aspect of the thesis, the initial objective of this section is to examine and demonstrate the theoretical perspectives based on the academical literature which emphasises to the craftsmanship of the subjects’s representation in floating markets.

It also focuses on the process of narrowing down of the understanding of documentary photography, tourism and heritage studies as the key role to assist visual developments. In order to reach

the successful desk research, the practical skills, time management and endeavours must be done deliberately.

Cultural Tourism & Heritage Tourism Studies The particular realm of cultural heritage tourism studies is selected because it examines the importance of the heritage preservation and conservation from the past for the future (Timothy, 2011).

Cultural Tourism Cultural studies is a major of the practices of the culture. It includes the understanding of the power of the relationship of the specific society which are constructed by the shape of the culture (Leeuwen & Jewitt, 2001).

While the cultural studies is linked to the notion of tourism, the fusion of cultural & tourism studies became a complicated term and sometimes generates an implicit recognition in the context of tourism, according to the Smith & Robinson (2006).

Timothy (2011) defines the idea of cultural tourism oftentimes is described to a person or group of the people that are visiting and involving themselves in the particular cultural elements. According to the Smith & Robinson (2006) the cultural tourism is often associated with an economic environment (combination of tourist destinations and sufficient facilities, such as, historical museums, arts centres, heritage sites and souvenirs).

However, Timothy (2011) argues that the socio-economic development is a sort of

30

a long-term investment which is crucially depending on the involvement of the regional authorities or local government to enhance the adequate cultural and heritage amenities. Another problematic concern in this topic is regarded to the establishment of schemes or procedures to look after the originality of the heritage sites for tourist’s interpretations and experiences (Hitchcock, 2004 & Urry & Larsen, 2011).

Heritage Tourism

itself due to the social and cultural construction. Snowball & Courtney (2010) then explain there are two types of value produced by heritage: firstly, the market value which is dependent on the sale price and secondly is the nonmarket value. These two heritage value are dependent on the conservation and development by the government, party or private owner to enhance the value of the heritage unless it would become diminished.

Heritage Conservation

Heritage tourism is a complicated word to be defined. Prajnawrdhi et al., (2015, p. 557) define that ‘Heritage is one of the important elements which create character, identity and image of city’.

Faulkner et al., (2000 quoted in Chiu et al., 2013) also explain that the idea of heritage concentrates on the historical aspect.

According to Timothy (2011) the term of heritage tourism refers to the tourists or visitors who are willing to participate and experience in the living cultures or built heritage sites. West (2010) adds that understanding the history of the heritage allows the researchers to create a framework for exploring the specific developments of the national and international cultural conservation.

Moreover, by understanding the history of the heritage sites or cultural events, it expands the level of visitor’s interest to understand the value of the heritage.

(Snowball & Courtney (2010) state that it is important to understand the heritage is not merely a tourism, but, it is a genuine value that attached on the heritage

31

The notion of preserving the heritage has known as a conservation effort to prevent and maintain the deterioration of historic building or location (Timothy, 2011). Timothy (2011) suggests it is vital to understand the importance of the preserving or conserving the heritage from the past since it cannot regenerate naturally.

The tangible (such as ancient monuments, historic buildings or landmarks, and archeological sites) and intangible (traditional collections, songs and customs) of the cultural and heritage product reveal a wealth of knowledge about the human condition, social lifestyles and enhance the understanding of the civilisation of the specific communities in the ancient periods.

The protection of the significance heritage sometimes can be subtle since the value itself is mutable. This is influenced by several factors, such as the evolution of the meaning due to the mass tourism or politic of tourism in particular heritage conservation endeavours.

Design Research & Research Methodology - Secondary Research

The economic value is one the of the biggest challenges in heritage conservation (Torre, 2013). It is problematic, the value of economic cannot be refused, while, at the same time, the cultural and heritage conservation is oftentimes associated as a complicated effort.

It requires a lot of cash and fundings as well as the well-managed coordination between the authority or government and private owners. However, conserving the past as a heritage tourism is a good business because it potentially contributes the financial benefits and economic growth to particular region and government’s revenues (Timothy, 2011).

In terms of presenting nostalgia, the historic preservation embodies the cultural and heritage value to the audiences to participate and experience the heritage place as a reflection of their elements and roots (Timothy, 2011).

Nonetheless, there is a contradiction between conservation and tourism, which the notion of culture and heritage are dynamic (they are oftentimes transformed, revalued and redefined) (Avrami, et al., 2000) and often exploited under commercial pressures and domination of tourism-driven market that downgrade the historic and cultural values (Paul & Roy, 2016).

Thus, it eventually triggers in supporting the tourism economy and results in conservation biased (Paul & Roy, 2016).

Throsby (2007 quoted in Snowball & Courtney, 2010) emphasised that the heritage values have to be separated from

the economic value although it generates the profitable incomes. This action is undertaken to conserve the cultural and heritage value for the future generations.

Cultural Heritage Tourism Both of cultural & heritage studies have a strong of linkage in forming of tourism components. Cultural heritage tourism is specifically emphasised upon the participant’s enthusiasm to participate in contemporary arts museums, archaeological sites or musical performances for experiencing the elements of the heritage which are based on the social, cultural and historical value (Chiu et al., 2013).

In Banjarmasin, South Borneo, Indonesia, tourism encompasses an amalgamation of culture, heritage, religion and natural landscapes (Dinas Pariwisata Kalimantan Selatan, 2017).

The notion of cultural and heritage plays an essential role to develop the cultural heritage tourism in Banjarmasin. For instance, floating markets in Banjarmasin are believed as a special heritage site that allows the tourists to experience the mixture of socio-cultural behaviours and tradition of Orang Banjar.

In fact, the strong relationship between cultural and heritage in tourism has attracted many tourists to participate in social activities which are the important part of the heritage tourism experience.

Thus, this idea allows another part of cultural tourism, such as, live culture (including traditional festivals, traditional ceremonies and art and dance performances) becomes meaningful in

32

sustaining the development of cultural heritage tourism in Banjarmasin. In addition, it is potentially be able to increase the economic developments, for example, to raise the local council incomes. However, the impact of the modernisation has influenced the development of the floating markets in Banjarmasin, Indonesia. Likewise, the floating markets in Thailand were threatened due to the massive development of sufficient transportation systems. In the subsequent section, the cultural heritage tourism studies examines the endeavour of the Thai’s Governments in preserving the existence of floating markets in Thailand.

Cultural Heritage Tourism of the Floating Markets in Thailand As Pongajarn, C., et al., (2016) explain, the floating markets in Thailand is a part of Thai’s social and cultural fabric. And, especially the residents of the central of Thailand, floating markets is a special place for trading agricultural products and a socialising area (Wattanacharoensil & Sakdiyakorn, 2016). Nevertheless, many of floating markets in Thailand were disappeared after the enhancement of road transportations and infrastructures in the 1950s and 1960s. For example, one of the most famous floating markets at that period was Wat Sai in Bangkok, however,

33

Damnern Saduak Floating Market The TAT had successfully introduced the Damnern Saduak floating market as the first tourist attraction where was located in the centre of local communities.

The improvement of Damnern Saduak floating market then was obtained by the investors throughout the transformation of local people residential into a complex of souvenir stores and food courts. The TAT had successfully introduced the Damnern Saduak floating market as the first tourist attraction where was located in the centre of local communities.

The improvement of Damnern Saduak floating market then was obtained by the investors throughout the transformation of local people residential into a complex of souvenir stores and food courts. This effort influenced the significant development of Damnern Saduak floating market and particularly profitable to the private associates.

However, there was a conflict between the investors and local people due to the relocation of Damnern Saduak floating market from Ludplee canal to Tonkem canal and the monopoly of the floating market’s management by the private associates.

Design Research & Research Methodology - Secondary Research

Figure 2.1 The Darmern Saduak floating market (2012)

34

Figure 2.2 The Aphawa floating market (2017)

Amphawa Floating Market Compared to Damnern Saduak Floating Market, Amphawa Floating Market is a different type of the floating markets in Thailand. The Amphawa Floating Markets is located in the Amphawa District of Samut Songkhram Province, Thailand.

Likewise to the Damnern Saduak Floating Market, the Amphawa Floating Market also experienced the degradation of development processes due to the massive enhancements of road infrastructures and non-floating markets.

However, in order to preserve this floating markets, the Thai’s government and Thailand Cultural Environment Project (TCEP) introduced a new plan for transforming the architecture of the canals and waterfronts in 2000s (Pongajarn, C., et al., 2016).

This proposal was also intended not only for reviving the Thai’s cultural fabric but also supporting the tourist potential of the Thaka Floating Markets. Then, the mayor of Amphawa established

35

a new open-air museum, temple and local heritage site which represents regarding the local culture of Thai’s people during pre-industrial era to the visitors and tourists (Pongajarn, C., et al., 2016). In terms of promotion, the local government used the power of the television, print media (including newspapers and magazines).

Nevertheless, there is an issue due to the opposition between the shop owners and local people for owning the public area and walkways. This problem is still steadily continuing throughout intense negotiations involving different people (Pongajarn, C., et al., 2016).

Regardless of land owning issue, the transformation in waterfronts and canals architecture development by the Thai’s authority was vital to revive the existence of Amphawa Floating Markets as a nostalgia-oriented tourism destination.

Ultimately, the Amphawa Floating Markets became on of the most wellknown tourist destinations not only for domestic but international tourists

Design Research & Research Methodology - Secondary Research

Photography Photograph is a part of daily life of many people (Bate, 2009). As the camera was first invented by a British inventor William Henry Fox Talbot in 1839 (Berger, 2013).

Equally, the implementation of the camera immediately became an indication of photography’s dominance and profound to offer the most transparent medium of referring to the reality. And, since the photography is pure, it reflects an ethnological knowledge of the photograph (Barthes, 2000). A photograph is not merely a picture, however it is being a representation of a trace that had existed long enough (Sontag, 2008).

The fieldwork of photography is central to this project since it is intentionally to be presumed as a picture-story, discourse and depiction of the aesthetic of the floating markets. In certain extent, the idea of photography is aimed to depict the uniqueness and natural beauty of floating markets for cultural tourism matters.

This work also particularly adopted a photographic documentation to convey reality, aestheticization and nostalgia of a single event.

and exposing the social reformations underlying an individual, people or particular groups in specific situations (Soutter, 2013). Equally, Bull (2010) explained, according to the work of The Pencil of Nature by William Henry Fox Talbot in 1884, the enthusiasm of photography is frontally associated as a recording tool to supply the evidence.

His collection of photographs clearly demonstrated the deployment of camera to capture the details of artistic objects and produce the objectivity of photographic documentation. The term of documentary rapidly became famous after the development of various media, particularly in 1920s and 1930s as a reportage, story-teller and depiction of the everyday life (Bate, 2009).

Documentary Photography “Telling a story with pictures is an old device (e.g. stained-glass windows in churches, tapestries, illustrated manuscripts), but documentary photography gave the idea a new life and social function” (Bate, 2009). Contrast to the main purpose of advertisement, documentary is aimed to represent the notion of revealing the truth, human experiences (social and behaviours)

Figure 2.3 Pages from William Henry Fox Talbot’s The Pencil of Nature book from 1884, which featured text and 24 actual photographs illustrating his experiments with paper prints and negatives.

36

According to the Berger (2013, Hambourg, et al, 1984 & Bull, 2010), John Grierson was the first filmmaker who used the term of a documentary to record a daily life of a Polynesian family in his ethnographic film called Moana by Robert Flaherty in 1926. He suggested that the deployment of photographic documentation should not be intended merely for a simple recording or documentation.

Figure 2.4 View of the Boulevards at Paris [The Pencil of Nature, Part 1, pl. 2] 1844 (published).

Conversely, the truthful photographs must be used to convey the reasonable facts which reveal human consequences (Hambourg, et al, 1984). Similar to Grierson’s arguments, Bate (2009) added, that the arrangement of pictures in social documentary is not only for recording and documenting matters, but also to educate and enlighten the audience.

Banks (2007, p. 12) also agreed that the corpus of documentary “is not merely a neutral document or record of things that took place before the camera, but a representation of those things, persons, and events intended to explain society and it is processes to citizen�.

Figure 2.5 Wedding of Moana (1926).

37

The emerging of a photographic documentation can be seen from splendid artworks by the prestigious precursors to documentary photography whose inherently demonstrate the genre of photographic documentation as an artistic representation to show a truth and social-reform movements (to expose the exploitation, or poverty). The artwork of Lewis Wickes Hine explicitly demonstrates the documentary value

Design Research & Research Methodology - Secondary Research

to capture the poor conditions of the workers in America. His photographs revealed many children were working as a labour at the industrial territories in Lancaster, South Carolina, in 1908 (Bate, 2009 & Bull, 2010). As a social photographer, he used the photography as a proof and criticism to against the exploitations on children. Then, he published an arrangement of photographs those involved a work of a primarily reformational and representational social issues for leading an improvement of that miserable situation (Bull, 2010). Consequently, it is assumed that the social photography was associated with the idea of ‘documentary’.

Figure 2.6 Lewis Hine – Spinners and doffers in Lancaster Cotton Mills. Dozens of them in this mill (1908).

Lewis Wickes Hine then collaborated with an economist and teacher Roy Stryker on the project American Economic Life to record all of the actions of the Farm Security Administration (FSA). With the support of the experienced photographers Walker Evans and Dorothea Lange and painter and graphic artist Ben Shahn, the results of the photographic meanings and stories were immersed. The project successfully displayed an awareness and humanity of Farm Security Administration to deal the massive social issues in United States of America (Bate, 2015).

Ultimately, the project of FSA became an initial work in which social photographic documentation was associated with a social method.

It also grew the reputation of social documentary both of in social studies and arts.

Figure 2.7 Migrant Mother, Dorothea Lange (1936).

38

The art of photographic documentation can be exemplified by tracing back to the first solo photography exhibition, American Photographs, by Walker Evans, held by the Museum of Modern Art (MoMA) (Bate, 2015).

Figure 2.8 American Photographs

by Walker Evans. First Edition, First Printing, 1938 (2017).

The audience of the exhibition witnessed the installation of a model for art photography. The reader can see a book of photographs with a minimalistic layout and composition. The doublepage spread of the photo book with white colour background was designed exclusively for a single photograph without any captions or written texts.

The framed photographs on the wall were not only performed as an art object, however, they provided a different atmosphere and experience.

Figure 2.9 Walker Evans: American Photographs. 75th Anniversary Edition (2017).

On top of that, Evans demonstrated the sequence of the photographic documentation to depict a visual poetry.

Nevertheless, this argument remained a confusion between the personal and social perspective of the photographer in conveying the facts until the poetic documentary photographer, Henri Cartier-Bresson exemplified the notion of expressive realism in documentary photography deployments.

39

Design Research & Research Methodology - Secondary Research

In the middle of twentieth-century, the use of documentary to a certain extent became ‘the decisive moment’, where the apparatus of the human gestures and expressions in particular space and time were meticulously framed in a photograph (Bull, 2010). With his unique methods, a French humanist photographer, Henri Cartier-Bresson shared, the idea of photographic documentation or he often termed it as a photographic reportage or picture-story is an arrangement of the sequence of the considerable photographs to tell a story (Cartier-Bresson, 1998).

Henri Cartier-Bresson added that an actual picture-story is composed by an engagement of the human’s intuitive (including emotion and sight) and the intentional composition (including enthusiasm and richness) to depict and convey the aestheticization of a single occasion (Documents of Contemporary Art, 2007 & Cartier-Bresson, 1998).

Figure 3.0 Derrière la gare Saint-Lazare, Paris, France, 1932, Bibliothèque nationale de France, Paris © Henri Cartier-Bresson / Magnum Photos, courtesy Fondation Henri Cartier-Bresson.

Cartier-Bresson (1998, p. 24) mentioned that “Sometimes you light upon the picture in a seconds; it might also requires hours or days. But, there is no standard plan, no pattern which to work.

You must be on the alert with the brain, the eye, the heart, and have suppleness of body” Henri Cartier-Bresson also believed that every single of tiny things can be an impressive subject. And, one of the subjects is a portrait of a human which enable the audience to emote and respect the reflection of an individual’s situation.

Figure 3.1 © IRELAND. 1962.

Province of Munster. Kerry County. Near Bantree (2014).

40

Figure 3.2 Awaiting customers beneath the modern sign advertising sneakers are Beijing’s vendors of lively chirping crickets, sold in octagonal straw baskets (1958).

Figure 3.3 © FRANCE. 1932. The Var department.

Hyères (2014).

41

Design Research & Research Methodology - Secondary Research

The invention of documentary photography was not only triggered by it is popularisation in society. However, it was gradually oriented as a medium to reveal a truth (Vassallo, 2014). The utilisation of photographic picture-story in this project is to provide and reflect the social interactions of the local vendors in floating markets to the audience.

The gestures and portraits of the traders construct the visual representation and tell the story of human relationships with their environments. The depth of the range of human experiences and situations is believed to represent a particular meaning (Gombrich, 1978), it then opportunities in consolidating preservation, retention, impression and meaning production.

However, Chéroux (2008) states there is a gap between the use of colour and monochromatic tone in documentary techniques due the capabilities to draw an image’s subject to the viewers in precise circumstances. Rosler (2006) argues that the monochrome photography is oftentimes associated as an artless or lack of artistic sense.

Jobey (2009) also explains that Paul Graham, the colour documentary photographer had worked on the coloured photographs which were concentrated in the aspect of consumerism, tourism and class.

Graham’s technique was taken to show the reality of present time and put aside the black and white reportage technique since it was not capable to represent precise time.

Nevertheless, Galeno and Ritchin (1990) argues based on the monochrome documentary photographer, Sebastiao Salgado, the use of black and white photographic documentation is effectively representing the deeper meaning of the reality. Thus, Sebastiao Salgado also believes that the black and white tone can guide the viewer’s emotion and attention when he or she is seeing the monochrome photographs (Galeno and Ritchin, 1990).

42

Figure 3.4 Alto Xingo Indians, Amazonas, Brazil, 2005 (2015).

43

44

DISCUSSION

45

Discussion

FINDINGS The Truth and Challenges of the Floating Markets of Banjarmasin, Indonesia Referring back to the Thai’s floating markets, after the massive developments of road infrastructure, only few floating markets endured and most of them have disappeared.

The endeavours of Thai’s governments in developing the infrastructure and tourism sectors have been a lifeblood for Thai’s local people to support their economy.

The revitalisation and improvement to the Damnern Saduak floating market have significantly inspired the emerging new floating markets in many places in Bangkok despite it remained a stated-owned monopoly on the location, local sentiments and commercialising a heritage site into a business site (Pongajarn, C., et al., 2016).

Likewise in Thailand, the research has revealed that the proliferation in technology and economy growth have deteriorated the floating markets in Banjarmasin (Mayor of Banjarmasin, 2017). Moreover, the recent changes in infrastructure, including the building of the new roads has altered the traditional use and relationship of the Banjar indigenous people with the rivers and waterways.

As Prajnawrdhi et al., (2014) state that modernisation, globalisation and uniformity in technology have significantly forced the particular groups of people to cope in terms of convergence in the global product preferences and modern lifestyles. Therefore, the globalisation standardises the market

homogenisation and social circumstances of the Orang Banjar to adopt into the modern life. Pasniah (2017), a local vendor and housewife argues that the behaviour and lifestyles of the Orang Banjar have changed dynamically. She also emphasises most of the Orang Banjar who are working as farmers and vendors in the floating markets now prefer to trade at non-floating markets. The traders nowadays are using motorcycles, cars and trucks as a transport mode to distribute their agricultural products instead.

At the same time, Bustan (2017), one of the local vendors in Lokbaintan floating market, indicates that the degradation of the floating markets has also been affected by the massive development of economic growth which has significantly grown the multiple corporations in Banjarmasin. This results in less desire of young people to sustaining the heritage of the floating markets and work inland instead.

Fadli (2017) one of the Banjar indigenous people justifies that the distant location and opening times have kept Muara Kuin and Lokbaintan floating markets from becoming well-known. Suriana (2017) explains the tourists also have to have long journey from city centre to rent a boat at the piers.

Thus, the visitors must catch-up in the early morning in order to visit the Muara Kuin and Lokbaintan floating markets, unless both of these markets have finished approximately before 9 or 10 in the morning.

46

The New Floating Market Shaped by Local Authority In order to keep the floating markets from deteriorating, the City Council of Banjarmasin have introduced the new shape of floating market. According to (Mayor of Banjarmasin, 2017), around two years ago, the City Council of Banjarmasin decided to establish the new type of floating market as part of heritage conservation and tourism.

This floating market is actually known Siring Tendean floating market since it is located at Siring Sungai Martapura on Pierre Tendean Street. The location in the heart of Banjarmasin was chosen because it provides the greater accessibility. As part of heritage conservation and tourism development and planning, the City Council of Banjarmasin have developed the amenities adjacent to Siring Tendean floating market, for example sport facilities, tourism centres, green parks, walking paths and Menara Pandang (The Tower of Viewing).

Mayor of Banjarmasin (2017) clarifies that the Siring Tendean floating market is officially part of the ‘River Restoration’ mega projects (Proyek Restorasi Sungai) by the City Council of Banjarmasin and Provincial Government of South Borneo (Pemerintah Provinsi Kalimantan Selatan) to build sustainable environments and new developments which will boost the tourism sector in Banjarmasin.

The Siring Tendean floating market allows the visitors to reach it is location simply without using a traditional boat. In terms of opening times, the Siring Tendean

47

floating market usually operates on Friday (specifically on Friday, this floating markets opens at evening), Saturday and Sunday from morning to evening. Most of the products in the Siring Tendean floating markets are the same if it is compared to the Muara Kuin and Lokbaintan floating markets. The majority of the local traders sell agricultural goods, handcrafts, souvenirs and ready-to-eat foods.

In terms of promotion, there are also many social activities and events are happening in the Siring Tendean floating markets organised by the local government, such as music, festivals (The festival includes a number of activities, such as a Cultural Parade, Banjar Fashion Carnival, SinomanHadrah Festival, Balogo Traditional Games, Banjar Villages Culinary Festival, Sasirangan Traditional Fabric Festival, and Decorated Traditional Jukung Boats, Photography) (Ministry of Tourism, Republic Indonesia, 2016) and anniversary of the city of Banjarmasin involving hundreds of local traders with their traditional boats (Mayor of Banjarmasin, 2017).

Based on the direct observation, the research has revealed that this floating market was unbelievably crowded and frequently visited by multiple visitors on the weekend.

Ultimately, no doubt this change has increased the tourist numbers and supported the economy of the local vendors. At the same time, the tourists contribute to preserve the development of the floating market.

Discussion

Figure 3.5 The Siring Tendean floating market (2017).

48

Figure 3.6 The economic transaction between the local vendor and visitor (2017).

49

Discussion

Same But Different In the critique to the heritage preservation, there is an inherent contradiction in terms of how exactly the floating markets have to be conserved. It remains the uncertainty whether the floating market has to be presented as a local culture of the Orang Banjar or a tourist attraction.

As Torre (2013) states that the economic value is one the of the biggest challenges in heritage conservation, this research revealed that the concept of commercialism in the Siring Tendean floating market has obscured the heritage value of the floating market itself. It can be seen from the disappearance of the traditional practice by the local vendors. Most of the traders in the Siring Tendean floating market do not showcase bapanduk or non-money goods exchanges anymore since they are more focused on selling their products to the tourists and visitors.

While the visitors need to rent a boat in order to experience the Orang Banjar’s traditional way of life in the Muara Kuin and Lokbaintan floating markets, the new layout of the Siring Tendean floating market provides a different circumstance and new method of trading between vendors and tourists. Chiu et al., (2013) explains that the heritage tourism should involve the participant’s enthusiasm to experience a living culture or heritage site.

However, the research showed that the Siring Tendean floating market affects the tourist’s excitement and experience since they do not need to get on the boat anymore. Thus, without the use of a boat, the majority of economic transactions between vendors and purchasers are only performed on the river

shore by using floating rafts or woods. As the result, the designation of “floating” to the Siring Tendean floating market is merely aimed to retain the original idea of the floating markets.

There is also an emphasis on the cultural conservation and cultural commodification occurring in the Siring Tendean floating market.

In general, the cultural commodification in the floating market involves the commodities that are brought from the local traders, such as harvests, foods or even souvenirs (Macleaod, 2006).

However, the commodification of the culture in Siring Tendean floating market is focused on the business-oriented market. This can be seen from the price of the goods in Siring Tendean floating market which slightly impacts on the consumer’s willingness to pay. In fact, the total of the price of the agricultural products are significantly increasing if it is measured with the private markets or nonfloating markets. This issue subsequently derives the consumer’s demand of the products for tourist’s consumption needs.

The notion of societal amnesia has shaped the local government’s policy more in focusing on the heritage marketing to increase tourist numbers (Avrami & Mason, 2000 & Paul & Roy, 2016). As the result, the local government administrated and established various entertainments, promotional campaigns and tourism branding to show that the Siring Tendean floating market is a desirable tourist destination. Despite the massive increase in tourist numbers is meaningful in preserving the floating market and rising the profits of

50

Figure 3.7 The new concept of the Siring Tendean floating market affects the experience of the visitors on the a boat as they did before in Muara Kuin and Lokbaintan floating market (2017).

Figure 3.8 The majority of economic trading are done on the river shore (2017).

51

Discussion

the vendors and local government’s revenues.

The local authority’s endeavour to conserve the Siring Tendean floating market is more focused to create a mass tourism rather than a representation of the culture of the Orang Banjar. This effort results the Siring Tendean floating market loses the traditional meanings and values associated with the way of life local people and tangible products (such as agricultural goods or souvenirs) as they are more associated for mass tourism (Timothy, 2011, p. 154). Moreover, the concept of commercialism might be covering the history of the floating markets which is important to be understood by the young generations (Paul & Roy, 2016).

Importance of the Heritage Value Conservation As mentioned earlier, the value of the heritage of the floating markets is pivotal to be conserved. Timothy (2011) suggests it is vital to understand the importance of preserving the heritage value from the past since it cannot regenerate naturally.

Henderson (2010) argues that the heritage conservation should represent a heritage site as an representation of assorted meanings from the past. It is also believed that the tangible product of heritage conservation provides a wealth of knowledge about the floating markets (Timothy, 2011).

However, the protection of the heritage sometimes can be subtle since the value itself is mutable. Again, the economic value is one the of the biggest challenges in heritage conservation (Torre, 2013). It is problematic, but, the value of economic cannot be refused since it potentially contributes the financial benefits and economic growth to particular region and government’s revenues

(Timothy, 2011). The conservation process for cultural heritage tourism oftentimes requires government supports (Prajnawrdhi et al., 2015). It also requires a lot of cash and fundings as well as the well-managed coordination between the authority or government and private owners (Torre, 2013).

In respond to the research objective in preserving the original value of the floating markets through cultural heritage tourism, a photography book of the floating markets is invoked as an artefact that has a potential to reflect nostalgia and provide a wealth knowledge of traditional values and meanings of the floating markets to the viewers.

While the project is focused to create a book through black and white documentary photography to present the cultural meaning of subjects with their environments, the reproduction of memorable images is becoming paramount. The project utilises the work of Henri Cartier-Bresson and his use of the black and white picture-story is believed capable to capture and indicate the narrative of the Orang Banjar with their intimate relation to the rivers.

The trader’s portraits, gestures and expressions are meticulously framed in a black and white photographs to reflect an emotion that can guide the viewers to focus on the subject’s emotional state (Galeno and Ritchin, 1990). By removing colour from an image helps the audience to see the subject’s face without any distractions. When photographing the subject, I used three types of views in photography techniques: landscape, medium range and close-up (Hildebrandt, 2017). These methods were

52

chosen because each technique capable to capture the important details (for example, texture of the human’s skins) of the subjects, especially when taking the portrait of a person. The close-up photographic technique increases the accuracy of the lenses to shot a great deal attention of the main figure’s details.

One the other hand, there is also a difficulty in terms of photographing the local traders with their cultural environments since the observer needed to get on a boat. The jostling boats consequence to the images becoming less detailed. Indeed, the camera had to be rigorously controlled in order to get the sharp-focus lens to capture the precise details and compositions.

And, the use of black and white tone supports the capability of the camera to cope the figures were moving swiftly (Chéroux, 2008). While the concept of decisive moment by was used to capture the moving moments and generate the perfect timing shots of an important event (Cartier-Bresson, 1998).

Future Plan Apart from establishing a photography book of the floating markets, this research also proposes a future planning by curating a photographic narration exhibition of the value of the floating markets adjacent to the Siring Tendean floating markets.

Curating a small photographic show a is considered as a further experimentation to show the traditional values and meanings since the mass tourism gradually obscures the original concept of the floating markets in Banjarmasin. As Timothy (2011) states that education is one of the most important key

53

roles in shaping the visitor’s understanding and appreciation of the heritage from the past. This future plan is aimed to educate and show an authentic culture, traditional way of life and intimate relation of the Orang Banjar to the rivers and waterways.

Indeed, this small gallery possibly can be associated as a heritage site to increase the public’s awareness of why the heritage value of the floating markets is important to conserve for the future (Hitchcock, 2004 & Urry & Larsen, 2011).

54

CONCLUSION

55

Conclusion

Genuinely, the floating markets in Banjarmasin, Indonesia is a culturally represent the intimate relationship of the Orang Banjar to the rivers. The floating markets also part of cultural fabric and local community for the local traders not only economically but also socially. More importantly, these unique markets reflect all of the genuine traditional culture and heritage of the ancestors.

The observational and ethnographic approach is a vital method of understanding the real life of Orang Banjar in the floating markets. Indeed, the observational and ethnographic research significantly reveals the uncovered issues occurring in the floating markets. The use of interview techniques is paramount in order to gather all of the credible and well-grounded information about the positive and negative problems and circumstances based on the insights of the local authority and vendors.

There is also difficulty in completing this project due to the insufficient information at the beginning of the data collection stage.

Nonetheless, the research became special since the mayor of Banjarmasin, Mr. Ibnu Sina has kindly shared his awarenesses and understanding of how to preserve and develop the floating markets in Banjarmasin, Indonesia.

The photography book of the floating market is established as a tangible heritage product and publication to recap and reveal the genuine meaning of the floating markets.

The book is also aimed at developing a better public understanding regarding the value of the floating markets. However, there is an

issue to evaluate that the use of photographic picture-story would significantly represent an aesthetizication and nostalgia, especially to deal with the various different viewers’s perceptions. No particular books and photographies are greatly and instantly grabbing the intentions of the audiences.

More importantly, the photographer have to ask himself whether it is image is valuable or does it represents the authenticity of the specific culture, and, how if it is seen by the viewers. To answer this question, I used the idea of documentary photography and the concept of ‘the decisive moment’ by Henri Cartier-Bresson.

The discourse of a photographic documentation is believed as a fitting medium to capture the essence of the floating markets. Therefore, these sets of medium meticulously reveal the fundamental value of the floating markets by emphasising the narrative of it is subjects and environments.

The idea of picture-story in this project is based on the French photographer, Henri Cartier-Bresson. While the concept of decisive moment by was used to capture the moving moments and generate the perfect timing shots of an important event and possibly reflecting a nostalgia (CartierBresson, 1998).

By capturing the ‘the decisive moment’, the focus on memorable image is paramount in order to activate the interpretation of the viewers. Ultimately, the memorable images possibly could show the traditional values and meaning of the floating markets from the past used to preserve and sustain this unique environment and maintain it is importance

56

Final Outcome The photography book of the floating markets in Banjarmasin, Indonesia.

Figure 3.9 The cover of the photography book (2017).

Figure 4.0 The example of the contents of the book (2017).

57

58

BIBLIOGRAPHY

59

Angrosino, M. (2007) Doing ethnographic and observational research. The sage qualitative research kit. London: Sage Publications Ltd.

Asia-Place to See (2012) Bangkok attractions: The floating markets. Available at: http://asiaplacestosee.com/ review/bangkok-attractions-the-floating-markets/ (Accessed: 21 October 2017).

Avrami, et al., (2000) Values and heritage conservation.

Los Angeles: The Getty Conservation Institute.

Banks, M. (2001) Visual methods in social research.

London: Sage Publications Ltd.

Barthes, R. (2000) Camera Lucida. London: Vintage.

Bate, D. (2009) Photography: The key concepts. London & New York: Bloomsbury Academic.

Bate, D. (2015) Art Photography. London: Tate Enterprise Ltd.

Berger, J. (2013) Understanding a photograph: Edited and introduced by Geoff Dyer. Great Britain: Penguin Books.

Best, K. (2010) The fundamentals of design management.

Switzerland: AVA Publishing.

Bull, S. (2010) Photography. USA & Canada: Roultedge.

Cahoy, E. (2017) Empirical research in education and the behavioral/social sciences. Available at: http://guides.libraries.psu. edu/emp (Accessed: 28 September 2017).

Cartier-Bresson, H. (1998) The mind’s eye: Writings on photography and photographers. Singapore: Aperture Foundation.

Chang, T. C. (1999) Local uniqueness in the global village: Heritage tourism in singapore. The Professional Geographer, 51(1), pp. 91-103. Available at: http://dx.doi. org/10.1111/0033-0124.00149 (Accessed: 20 October 2017).

Chéroux, C. (2008) Henri cartier-bresson. London: Thames & Hudson.

Cities at Dawn (2017) 6 things Henri CartierBresson can teach you about photography. Available at: https://www. citiesatdawn.com/6-things-henri-cartier-bresson-can-teachyou-about-photography/ (Accessed at: 20 October 2017).

Coleman, A. D. (2000) Depth of field: Essays on photography, mass media and lens culture. University of New Mexico Press Albuquerque.

Creswell, J. W. (2009) Research Design: Qualitative, quantitative, and mixed methods approaches 3rd edtion. California: Sage Publications, Inc.

Creswell, J. W. (2014) Research Design: Qualitative, quantitative, and mixed methods approaches 3rd edtion. California: Sage Publications, Inc.

Deckha, M. (2004) Beyond the country house: Historic conservation as an aesthetic politics. European Journal of Cultural Studies 7(4) pp. 403-423.

Design Council (2015) The Design Process: What is the Double Diamond? Available at: http://www.designcouncil. org.uk/news-opinion/design-process-what-double-diamond (Accessed: 11 July 2017).

Dinas Pariwisata Kalimantan Selatan (2017) Selamat datang di wisata kalsel. http://disporbudpar.kalselprov. go.id/index.php/en/ (Accessed: 5 September 2017).

Dyson, R. G. (2004) Strategic development and swot analysis at the University of Warwick, European Journal of Operational Research, 152, pp. 631–640. Available at: http://www. sciencedirect.com/science/article/pii/S0377221703000626 (Accessed: 1 December 2016).

Easy Day Thailand (2017) Amphawa floating market.

Available at: http://www.easydaythailand.com/amphawafloating-market/ (Accessed: 26 October 2017).

Fisher, C. (2010) Researching and writing a dissertation: An essential guide for business students 3rd edition. England: Pearson Education Limited.

Fitri, I., et al., (2015) Conservation of tangible cultural heritage in Indonesia: A review rurrent national criteria for assessing heritage value. Procedia - Social and Behavioral Sciences 184 (2015) pp. 71–78. Available at: doi:10.1016/j. sbspro.2015.05.055 (Accessed: 21 October 2017).

Flick, U. (2007) Managing quality in qualitative research. London: Sage Publications Ltd.

Flick, U. (2011) Research methdology: A beginner’s guide to doing research project. London: Sage Publications Ltd.

Foto Room (2004) The decisive moment as Henri Cartier-Bresson truly meant it. Available at: http://fotoroom.co/ decisive-moment-henri-cartier-bresson/ (Accessed: 1 October 2017).

Franklin Books (2017) American photographs by Walker Evans, first edition with dust jacket. Available at: https:// www.franklinbooks.com/american-photographs-by-walkerevans-first-edition-with-dust-jacket/ (Accessed: 20 October 2017).

Fraser, G. (1976) The history of photography: Henri cartier-bresson. United States of America: Aperture Inc.

Galeano, E. & Ritchin, F. (2001) An uncertain grace: Photographs by sebastiao salgado. London: Thames & Hudson.

Gibbs, G. R. (2007) Analyzing qualitative data: The sage qualitative research kit. London: Sage Publications Ltd.

Gombrich, E. H. (1978) Henri cartier-bresson.

Edinburgh: Scottish Arts Council.

Hart, C. (1998) Doing a literature review: Releasing the social research imagination. London: Sage Publications Ltd.

Hambourg, M. M., et al., (1984) Observations: Essays on documentary photography. The Friends of Photography.

Henderson, J. (2011) Understanding and using built heritage: Singapore’s national monuments and conservation areas. International Journal of Heritage Studies, 17(1), pp. 46-61. Available at: http://dx.doi.org/10.1080/13527258.

2011.524006 (Accessed at: 20 October 2017).

Hildebrandt, D. (2017) Documentary photography: Six tips for creating a legacy. Available at: https://digital-photographyschool.com/documentary-photography-six-tips-for-creating-alegacy/ (Accessed: 20 October 2017).

Hitchcock, M. (2004) Culture and tourism.

George Washington University Institute for Ethnographic Research, Anthropological Quaterly, 77(4), pp. 827-830.

Hutchison, H. (2007) Writing essays and dissertation.

London: Teach Yourself.

Jobey, L. (2009) Photographer paul graham: Fragments of life. Available at: https://www.theguardian.com/ artanddesign/2009/mar/02/paul-graham-shimmer-possibility (Accessed: 20 October 2017).

Kota Kita (2015) Banjarmasin city vision profile.

Available at: http://www.kotakita.org/project-banjarmasincity-vision.html (Accessed: 5 November 2017).

Luminious-Lint (2017) Henry Fox Talbot: The Pencil of Nature. Available at: http://www.luminous-lint.com/__phv_ app.php?/v/_PROCESS_Calotype_02/ (Accessed: 26 October 2017).

Lussetyowati, T. (2015) Preservation and conservation through cultural heritage tourism: Case study: musi riverside palembang. Procedia - Social and Behavioral

60

Sciences 184 (2015) pp. 401 – 406. Available at: doi:10.1016/j. sbspro.2015.05.109 (Accessed: 20 October 2017).

Macleod, D. (2006) Cultural commodification and tourism: A Very special relationship. Tourism Culture & Communication 6(2), 2006, pp. 71-84(14). Available at: https:// doi-org.arts.idm.oclc.org/10.3727/109830406777410580 (Accessed: 5 November 2017).

Magnum Photos (2014) Henri CartierBresson.

Available at: https://pro.magnumphotos. com/C.aspx?VP3=CMS3&VF=MAGO31_10_ VForm&ERID=24KL53ZMYN (Accessed: 20 October 2017)

MoMA (2017) Henri Cartier-Bresson. Available at: https://www.moma.org/interactives/exhibitions/2010/ henricartierbresson/#/themes/8/191.html (Accessed: 20 October 2017)

Noble, I. & Bestley, R. (2001) Experimental layout.

United Kingdom: RotoVision SA.

Paul, S. Kr. & Roy, S. (2016) Tourism-based heritage conservation in Murshidabad: An appraisal.

Journal of Heritage Tourism, 12(2), pp. 139-154, Available at 10.1080/1743873X.2016.1159685 (Accessed: 29 October 2017)

Pink, S. (2001) Doing visual ethnography. London: Sage Publications Ltd.

Pongajarn, C., et al., (2016) Floating markets in Thailand: Same, same, but different. Journal of Tourism and Cultural Change, 2016, pp. 1-14. Available at: http://dx.doi.org/ 10.1080/14766825.2016.1253704 (Accessed: 30 May 2017).

Prajnawrdhi et al., (2015) Preserving cultural heritage of denpasar: Local community perspectives. Procedia Environmental Sciences, 2015, 28, pp. 557-566. Available at: 10.1016/j.proenv.2015.07.066 (Accessed: 21 October 2017).

Prompayuk, S. & Chairattananon, P. (2016) Preservation of cultural heritage community: Cases of Thailand and developed countries. Procedia - Social and Behavioral Sciences 234 (2016) pp. 239–243. Available at: doi:10.1016/j. sbspro.2016.10.239 (Accessed: 20 October 2017).

Punch, K. F. (1998) Introduction to social research: Quantitative & qualitative approaches. London: Sage Publications Ltd.

Research Methodology (2017) Research philosophy.

Available at: http://research-methodology.net/researchphilosophy/ (Accessed: 28 August 2017).

Research Methodology (2017) Inductive Approach (Inductive Reasoning). Available at: http://research-methodology. net/research-methodology/research-approach/inductiveapproach-2/ (Accessed: 30 August 2017).

Richard Heller Gallery (2017) Sebastião Salgado: Sebastião salgado srtist biography. Available at: http://www.richardhellergallery.com/dynamic/artist. asp?ArtistID=90 (Accessed: 26 October 2017).

Rosler, M. (2006) 3 works. Canada: The Press of the Nova Scotia College of Art and Design.

Sky Dancing (2015) Lewis Hine: Spinners and doffers in lancaster cotton mills. Dozens of them in this mill, 1908. Available at: https://skydancingblog.com/2015/09/07/labor-dayreads-3/lewis-hine-spinners-and-doffers-in-lancaster-cottonmills-dozens-of-them-in-this-mill-1908/ (Accessed: 20 October 2017).

Seale, C. (1998) Researching society and culture.

London: SAGE Publication Ltd.

Snowball, J. D. & Courtney, S. (2010) Cultural heritage routes in South Africa: Effective tools for heritage conservation and local economic development?

61

Development Southern Africa, 27(4), pp. 563-576. Available at: 10.1080/0376835X.2010.508589 (Accessed: 29 October 2017).

Sontag, S. (2008) On photography. Great Britain: Penguin.

Soutter, L. (2013) Why art photography? USA & Canada: Roultedge.

Sutawa, G. K. (2012) Issues on Bali tourism development and community empowerment to support sustainable tourism development. Procedia Economics and Finance 4 (2012) pp. 413 – 422.

The Jakarta Post (2017) Lok Baintan floating market leads revival of river tourism. Available at: http://www. thejakartapost.com/travel/2017/06/06/lok-baintan-floatingmarket-leads-revival-of-river-tourism.html (Accessed: 12 June 2017).

Thomas, G. (2009) How to do your research project: A guide for students in education & applied social sciences. London: Sage Publications Ltd.

The University of North Carolina at Charlotte (2017) Sociological research methods: empirical research. Available at: http://guides.library.uncc.edu/c.php?g=173030&p=1143848 (Accessed: 28 September 2017).

Torre, Marta de la (2010) Values and heritage conservation. Heritage & Society, 6(2), pp. 155-166, Available at: 10.1179/2159032X13Z.00000000011(Accessed: 29 October 2017).

Timothy, D. J. (2011) Cultural heritage and tourism: An introduction. United Kingdom: Channel View Publication

UKEssays (2017) Research onion - Explanation of the concept. Available at: https://www.ukessays.com/essays/ psychology/explanation-of-the-concept-of-research-onionpsychology-essay.php (Accessed: 28 August 2017).

UNESCO (2017) Angkor. Available at: http://whc. unesco.org/en/list/668 (Accessed: 30 October 2017).

Vassallo, J. (2014) Documentary photography and preservation, or the problem of truth and beauty. Future Anterior, 11(1), pp. 14-33. Available at: https://muse.jhu.edu/ article/563787 (Accessed: 29 October 2017).

Walker, F. D. (2015) Master profiles: Henri CartierBresson. Available at: http://shooterfiles.com/2015/04/mastershooters-henri-cartier-bresson/ (Accessed: 1 October 2017).

Wattanacharoensil, W. & Sakdiyakorn, M. (2016) The potential of floating markets for creative tourism: A study in nakhon pathom province, Thailand. Asia Pacific Journal of Tourism Research, 21, pp. S3-S29. Available at: http://dx.doi.or g/10.1080/10941665.2014.998250 (Accessed: 30 May 2017).

White, P. (2009) Developing research questions: A guide for social scientists. London: Palgrave Macmillan.

Widewalls (2015) Photography books: Understanding the art before starting your own collection. Available at: https://www. widewalls.ch/photography-books-collecting/ (Accessed: 26 October 2017).

World Port Source (2017) Port of banjarmasin.

Available at: http://www.worldportsource.com/ports/review/ IDN_Port_of_Banjarmasin_3043.php (Accessed: 6 October 2017).

Image Reference

Figure 1.1 Kosasi, A. (2017) The Lokbaintan floating market (Photograph)

Figure 1.2 Kosasi, A. (2017) The river network became a local community, which is known as a floating market nowadays (Photograph)

Figure 1.3 Kosasi, A. (2017) The local trader uses a traditional boat (jukung) as water transport to distribute her agricultural goods (Photograph)

Figure 1.4 Kosasi, A. (2017) The traditional way of trading called bapanduk or non-money barter amongst the local vendors (Photograph)

Figure 1.5 Kosasi, A. (2017) The situation and condition of the Lokbaintan floating market (Photograph)

Figure 1.6 Kosasi, A. (2017) The floating market is a representation of the genuine culture of the Orang Banjar (Photograph)

Figure 1.7 Kosasi, A. (2017) The new type of a floating market, it is located in the city centre of Banjarmasin (Photograph)

Figure 1.8 The Double Diamonds Diagram. Adopted from Design Council 2015.

Figure 1.9 The Research Onion. Adopted from Saunders et al. (2007)

Figure 2.0 The Research Methodology Diagram, adopted from (Creswell, 2014).

Figure 2.1 The Darmern Saduak floating market.

Available at: http://asiaplacestosee.com/review/bangkokattractions-the-floating-markets/ (2012) (Accessed: 20 October 2017).

Figure 2.2 The Aphawa floating market (2017).

Available at :http://www.easydaythailand.com/amphawafloating-market/ (Accessed: 20 October 2017).

Figure 2.3 Pages from William Henry Fox Talbot’s The Pencil of Nature book from 1884, which featured text and 24 actual photographs illustrating his experiments with paper prints and negatives.

Available at: https://www.widewalls.ch/photography-bookscollecting/ (Accessed: 20 October 2017).

Figure 2.4 View of the Boulevards at Paris [The Pencil of Nature, Part 1, pl. 2]1844 (published). Available at: http://www.luminous-lint.com/__phv_app.php? /i/18319:57102:40569:50499:7513/ (Accessed: 20 October 2017).

Figure 2.5 Wedding of Moana (1926). Available at: https://commons.wikimedia.org/wiki/File:Moana_wedding. jpg (Accessed: 20 October 2017).

Figure 2.6 Lewis Hine – Spinners and doffers in Lancaster Cotton Mills. Dozens of them in this mill (1908). Available at: https://id.pinterest.com/pin/436286282624089407/?lp=true (Accessed: 25 October 2017).

Figure 2.7 Migrant Mother, Dorothea Lange (1936).

Available at: http://www.pbs.org/wgbh/roadshow/stories/ articles/2014/4/14/mig rant-mother-dorothea-lange/ (Accessed: 22 October 2017).

Figure 2.8 American Photographs by Walker Evans. First Edition, First Printing, 1938 (2017). Available at: https://www. franklinbooks.com/american-photographs-by-walker-evansfirst-edition-with-dust-jacket/ (Accessed: 20 October 2017).

Figure 2.9 Walker Evans: American Photographs.

75th Anniversary Edition (2017). Available at: http://www. s p a c e s c o r n e r s. c o m / b o o k s / Wa l k e r- E v a n s - A m e r i c a n Photographs.html (Accessed: 20 October 2017).

Figure 3.0 Derrière la gare Saint-Lazare, Paris, France, 1932, Bibliothèque nationale de France, Paris © Henri Cartier-Bresson /

Magnum Photos, courtesy Fondation Henri Cartier-Bresson. Available at: http://fotoroom.co/decisive-moment-henri-cartier-bresson/ (Accessed: 22 October 2017).

Figure 3.1 © IRELAND. 1962. Province of Munster. Kerry County. Near Bantree (2014). Available at: http://pro.magnumphotos.com/Catalogue/Henri-CartierBresson/1962/IRELAND-1962-NN146173.html (Accessed: 28 October 2017).

Figure 3.2 Awaiting customers beneath the modern sign advertising sneakers are Beijing’s vendors of lively chirping crickets, sold in octagonal straw baskets (1958). Available at: http://visual-archive. livejournal.com/5186.html (Accessed: 28 October 2017).

Figure 3.3 © FRANCE. 1932. The Var department.

Hyères (2014). Available at: http://uk.phaidon.com/agenda/ photography/picture-galleries/2010/december/10/thedecisive-moment-henri-cartier-bresson/ (Accessed: 28 October 2017).

Figure 3.4 Alto Xingo Indians, Amazonas, Brazil, 2005 (2015). Available at: http://www.beetlesandhuxley.com/ gallery/landscapes/alto-xingo-indians-amazonas-brazil-2005. html (Accessed: 12 October 2017).

Figure 3.5 Kosasi, A. (2017) The Siring Tendean floating market (Photograph)

Figure 3.6 Kosasi, A. (2017) The economic transaction between the local vendor and visitor (Photograph)

Figure 3.7 Kosasi, A. (2017) The new concept of the Siring Tendean floating market affects the experience of the visitors on the a boat as they did before in Muara Kuin and Lokbaintan floating market (Photograph)

Figure 3.8 Kosasi, A. (2017) The majority of economic trading are done on the river shore (Photograph)

Figure 3.9 Kosasi, A. (2017) The cover of the photography book (Photograph)

Figure 4.0 Kosasi, A. (2017) The example of the contents of the book (Photograph)

Figure 4.1 Kosasi, A. (2017) The ‘Orang’ or local people of Banjar have been socially and economically driven with the river (Photograph)

62

63

64

Figure 4.1 The ‘Orang’ or local people of Banjar have been socially and economically driven with the river (2017)

65

66