BIRGITTA    GODLUND

BakokoBakoru Zoe, Minister of Gender, Labour and Social development,
Kampala, May 2002
…Proceeds of this exhibition “Inside/Outside Africa” a farewellexhibition by Birgitta Godlund will go to the LIRA PRISON GODLUNDWING …

this artist and art educator … an ambassadorin her own right… spreading a message of culture to the poor…

GuyLa Croix, Directeur de Centre Culturel Franqais de Nairobi, May 71996
Chercollègue, Permets-moi de te présenter Mme. Birgitta Godlund, uneartiste suédoise qui a véçu au Kenya depuis 1991 et rentre auSuède …

…ellea participé a plusieurs expositions collectives au Centre CulturelFranqais de Nairobi et a présenté deux expositions individuelles,la premiere en 1992 et la deuxieme en 1996. La qualité de sesoeuvres a non seulement connu un grand succès auprès du public maisa aussi été 1'objet d'un bon accueil auprès des critiques desjournaux, de la télévision et de la radio.

Mme. Godlund a su montrer les qualités d'une artiste confirmée depuisson arrivée a Nairobi en 1991. Elle a également animé denombreuses ateliers avec les artistes locaux.

Teremerciant de 1'accueil que tu voudras bien réserver à sa demande,je te prie de croire, Cher Collègue, a mes meilleurssentiments.

Jean-Claudede Salins, Secretaire general of International Association of Art,Paris 8 August

MargarettaGacheru, Nairobi, 1996
BirgittaGodlund has a gift for "blending in" wherever she goes - beit to Baghdad, Bucharest, Jakarta or even Nairobi… chameleon-likequality has to do with her knack for languages. She's fluent ineverything from Arabic, English and French to Russian, Rumanian, ofcourse, her mother tongue, Swedish and even Indonesian, the languageshe last learned while living in Indonesia… before they came toKenya… not that she spoke Arabic before she reached Iraq orRomanian before she and her family reached Bucharest. But because shewanted to mix with local people wherever she's been, she's gone outof her way to learn their mother tongue…

… she hasn'tlearned Swahili as well as say, she learned Arabic when she stayedand studied at the Academy of Fine Art in Baghdad in the late 1970s,Birgitta did the next best thing when she came here (apart fromimprove her English)… to get into Kenyan people's cultures viatheir oral traditions, religions, proverbs and philosophies… …reflects her incessant desire... to delve beyond thesuperficialities… to understand the landscapes of Kenyan people'spsyches and cultures…

SusanneWise, Svenskbladet Nairobi, 1996
...utställningav målningar och skulpturer av företrädesvis kenyanska konstnärer.Och mitt bland alla afrikanska namn - ett svenskt : Birgitta Godlund!Jag blev förvånad och läste nyfiket i programmet. ... Vem vardenna konstnärinna med svenska kulturrötter som så lätt blandadesig med en annan kultur? Och som lyckades så bra att hennes namngång efter annan dök upp här i Nairobi? Så lätt kan det välinte vara att som svensk kvinnlig konstnär i ett så mansdomineratsamhälle som det afrikanska komma fram i ett nytt land...

 [Honär] full av liv och kraft... [har] mycket humor och stor distanstill sig själv...
Dittsätt att komma nära främmande kulturer. Hur kommer det sig ?... Redan i unga år blev jag tvungen att anpassa mig till olikakulturer... började översätta för Sveriges Radio...
... Jakarta, där jag umgicks med de mest skilda nationaliteter och därjag ställde ut ett flertal gånger med indonesiska konstnärer. Detvar inte alltid helt lätt... en hel del kulturkrockar uppstodibland... "culture trafficking", säger amerikanerna. Menden här anpassningsproblematiken ser jag som någonting väldigtpositivt - jag får influenser och inspiration i mittarbete...

Birgitta, hur kommer man in som konstnär i ett nytt samhälle?... Tur. Och så finns det en sådan kollegial generositet här... tyckeratt det är så roligt att få lära mig nya saker. Jag är som ettbarn, full av naiv energi... måleri ar ju ett ensamt arbete... manbehöver kontakt med andra människor och det kan jag få genom attarbeta som konstlärare och genom att arrangerautställningar…

Dorrit Alopaeus-Stahl, Conseiller prés l’ambassade de Suéde, December 1992
Amisde 1'Art, Mesdames et Messieurs,
J'ai l'honneur et le grandplaisir d'inaugurer cette exposition que présente des oeuvres del'artiste suedoise, Mme Birgitta Godlund dans le Centre CulturelFrancais a Nairobi.
… BirgittaGodlund has the ability to interact with the various cultural andnatural environments,in a European as well as in Asian and African contexts, in which sheat any given time lives. She reaches out across borders... [often]changed her immediate environment…

For her, her artworkhave been instrumental in coming to grips with new environments…Changes take place around us all the time. Every one of us shares thesame air, water and earth and sky. They change sadly and rapidlythrough overexploitation and pollution. Pollutions and, fortunately,remedies to those, do not know of any political or culturalboundaries. They also communicate! And this makes us dependent uponour fellow men and women, their values and actions, while they areequally affected by our ways of living.

In thisinterdependency, we can benefit, like we do tonight, from means ofcommunication created to better understand this common earth.Birgitta Godlund, in sharing with us the outcome of her work, alsogives us instruments to understand the changes taking place aroundus… with her long experience of living, learning and creating inmany cultures and environments, [she] chooses now to work with colourand form in ways which bring out the complexity of reality and ourperceptions of it. She has set her mind at stirring ours intoreaction…

Göran Burenhult, Professor, Kulturens museum, Lund, 15 Maj 1999
...haft den utomordentliga förmånen att för många år sedan under en veckas tid i Indonesien tillsammans med Birgitta och Hans få uppleva osannolika äventyr på en bortglömd och därför oförstörd liten ö i Mindre Sundagruppen ...

…för detta hedrande uppdrag - nämligen att inviga en konstutställning. För arkeologer existerar nämligen inte begreppet konst. Vi talar istället om symboler, dvs bilder i olika material som i traditionella samhällen alltid förmedlar budskap - sociala, rituella, ceremoniella eller magiska, och som alltså har en samhällsfunktion, och som alltid följer gängse normer…aldrig utrymme för spontana, individuella uttrycksformer - då sabbar man i värsta fall förhållandet till det övernaturliga.

Konst att avnjuta för sin skönhets skull är en modern företeelse - även om hantverksskicklighet alltid gett den enskilde individen hög status i hans samhälle...

Jag har alltså haft glädjen att uppleva Birgittas stora intresse för Sumbas mycket speciella symbolvärld - den som yttrar sig som spektakulära, polykroma vävnader i ikat-teknik med figurala, antropomorfa gestalter som liknar allt mellan svenska jultomtar och medeltida jävlar, där hennes studier gick långt djupare...

[Hon har] omsatt sitt djupa intresse för antropologisk symbolik i egna tolkningar av detta färgstarka afrikanska kulturarv - med pensel och pinne. Och detta är ingenting annat än en stor konst!... Det är med stor glädje jag kan gratulera Birgitta till en serie magnifika och mycket personliga tolkningar av traditionella mönster i en strålande och mycket vacker utställning här på Kulturen, och jag vill härmed förklara utställningen ”Inside/Outside Africa” öppnad. Varmt tack!

Mehram Yaar, poet Nairobi spring 1996

Carole Mahiti, writer, Nairobi, June 1996
Living in Kenya has done more wonders for Birgitta Godlund than she ever imagined. Not only has she been able to relate with the people of Kenya, appreciate their different perspective of viewing things but she has been able to achieve what many have found difficult to achieve. To make a mark in the art world in Kenya and receive appreciation...

Godlund has brought together poetry and fine art... read various African books, interact with authorities on African culture to the extent that she has based her art on the African. "It happens to me everywhere I go, I take the perspective of the other person to portray this in my art" she says...

Boryana Punczewa, Dyrektor Bulgarski Instityt Kultury Warszawa 2005
Birgitta Godlund zaprasza publiczność do uczestnictwa w dialogu między artystką a środowiskiem, w którym żyje. Jej emocjonalna i pobudzająca intelektualnie sztuka wywołuje wielowymiarowe skojarzenia na poziomie perspektywy i percepcji... interpretuje grę językowa angielsko-hindusko-afrykanskiego poety... kulturach większości krajów istnieją baśnie o tęczy kończącej się nie po drugiej stronie świata, lecz tuż obok. Najlepiej jest człowiekowi tam gdzie się urodził, gdzie mieszkali i uprawiali ziemię jego rodzice i przodkowie. Połyskujące, intensywne kolory na niebie to nie żadna iluzja, tęcza jest prawdziwa i stanowi metaforę naszych marzeń i pragnień. W ten sposob tęcza, a także baśnie o niej jednoczą ludzkość. Znak tęczy jest wyimaginowanym, ale bardzo silnym pomostem między ludźmi i narodami. Co może być silniejsze niż emocje i poczucie wspólnoty?...

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Birgitta– photo:
Johan Bävman

Carolina Söderholm, konstkritiker/konstvetare - 17 augusti, 2013

…ett möte mellan konst och vetenskap som bland annat närmar sig frågan om människans och havets hälsa…

… många frågor som väcks när satsningen "Gränssnitt Östersjön/Smygehuk" vill knyta samman konst och vetenskap. Under augusti fylls Köpmansmagasinet vid Sveriges sydligaste udde med konst och diskussioner som förhåller sig till platsen, landskapet, havet och människans inverkan på dem

… Birgitta Godlund, kurator för projektet, som vill skapa en ny mötesplats för konst och vetenskap...förankring till platsen
och naturen. Här samlar den sig till en sevärd och luftig presentation, som innebär ett lyft för verksamheten i Köpmansmagasinet.

Yolande Skeete, Director of Sumei Multi-Cultural Centre, Newark USA January 22, 2013
…we are pleased to give Birgitta Godlund our highest recommendation as a curator and organizer of high quality art exhibitions. Our curatorial relationship with Birgitta this past year (2012) was extremely successful and we plan to have a working relationship with her for some time. Last year thanks to the generous sponsorship of the US Embassy we received funding for presenting the work of two American artists to the Swedish public in Stockholm and other parts of Sweden. Of the exhibitions we had last year two were curated and completely handled by Birgitta. Using her extensive network of professional contacts Birgitta negotiated and made arrangements for both exhibits. Putting together her curatorial skills, her knowledge of art and world history and her excellent eye for design and presentation Birgitta created two excellent exhibitions that were well received by the public and the press

Wendy Karmali, Director of Kenya Museum Gallery of Contemporary East African Art, Nairobi, April 2, 1996

…Birgitta Godlund, organised the fine arts exhibition (the centrepiece of the Kenya Museum Society's annual Arts Festival) at the Nairobi National Museum in March 1993…

…approximately 100 artists living and working in Kenya, many of whom are internationally acclaimed, were invited by Birgitta to take part in this exhibition of paintings and sculptures, making it the biggest art event of the year in the East African art calendar.

Birgitta proved to be a highly efficient organiser with a dynamic approach to the job which requires a considerable amount of tact as well as administrative skills in order to mount such a large exhibition in a relatively short period of time.

Her innovative and attractive hanging of the exhibition space involved putting together a wide-ranging selection of artwork covering a plethora of techniques and media. The result was very well received by both artists and art patrons alike…

Guy la Croix, director of the French Cultural Centre, Nairobi
…invited to become a member of the Executive Committee of the Nairobi Art Studio comprising five leading local artists and cultural personalities. The main objective of the Studio is to promote cultural arts within the local community. The Committee has been able to achieve this goal through the organization of art and poetry workshops and festivals. Ms. Godlund was instrumental in organising the 1992 and 1993 editions of the Kenya Art Panorama Competition/Exhibition and the 1994 Art/Poetry Festival, each of which attracted more than 100 local participants.

…Early 1993, she was asked by a visiting director, Roger Chamberlain to design the stage and costumes for the play "Dream on Monkey Mountain" by the Nobel prize winner, Derek Walcott, which was performed at the French Cultural Centre by a leading African drama group, Theatre Workshop Productions. Ms. Godlund chose not only to design the scenography but also trained some young African artists, at her home which was transformed into a workshop for a short while, on how to produce an effective stage set with local materials…

Vivianna Bülow-Hübe, silver designer Jakarta 20 May 1991

Jill Rolande Gosselin, artist. Paris 28 March 2012
…with your excellent experience which was made evident during our previous collaboration in Jakarta" Indonesia, when we organized the European-Union-funded exhibition:, Europa Art Expo 1991 together, I feel that both you and the association could benefit from this endeavour l am sure that could you make yourself available [to study le 6ème Ateliers d’Artistes] there would be a worthy exchange of ideas on the various aspects of bringing art and exhibitions. to a receptive audience…

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Bruno Sserunkuuma, AG Dean MTSIFA, Makerere University, 7 Dec 2000
… Birgitta has been actively involved in both academic and professional activities in School…
…facilitating workshops/seminars for lecturers… creative applications on Art History…
…workshops/seminars about Culture and Identity for selected groups of students…
Birgitta Godlund has brought new and fresh ideas about Art appreciation and Art making to MTSIFA. Both lecturers and students have enjoyed and appreciated her lectures and wish to continue with her.

Dori Grace U. Lemeh, The Pennsylvania State University, USA, October, 1998
It was a great pleasure hearing you… museum education lecture during our Thursday evening course, Museums as Social Institutions. After the evening lecture many of the art education graduate students discussed your ideas and philosophies as they pertain to our educational interest… leant insight to the inner workings of the educational component of the Modern Museum in Stockholm...

It is always helpful for me as a visual artist, and art educator to learn about the various aspects of large institution such as the Modern Museum. It is also interesting to discover that the controversy surrounding curating and exhibiting major contemporary shows are occurring in different places outside of the United States... exhibitions that have elicited interesting political discussions and anger amongst Congress and the community. Jobs and financing of the shows have been threatened. There have been a few ways in which the Director and the curators have responded to the pressure of the community and congress, but it has not always been favorable...

Rovianne Matovu, writer London/Kampala, June 2001
... [Birgitta] conducts facilitating workshops and lectures on creative applications on Art History, Culture and Identity. She provocatively asks three poignant questions:
• Who am I? The nature of identity crisis, thereby encouraging the artist to listen to their inner voice.
• Where am I going?
• She also asks her students to ponder on the whole point and purpose of painting whether commercial or recreational art.
... Art for art's sake is subjective and intent on a self-enquiry and or communication. It is liberating and has no bounds... the holy trinity of her approach to art... [in] her art workshops, she deliberately chooses landscapes rather than life drawing. They are easy to do... landscape is very accessible. This evokes live inspiration and helps to loosen up the artists. It allows them elasticity. But like all things in life, letting go requires confidence and faith. Godlund's philosophy is to teach and encourage the artist to respond to their individuality ... Watercolour is a very difficult medium, however. It requires absolute control of brush to wet paper but it also allows freedom of expression because of its liquid fluidity... A picture can literally "run" and organically grow on paper. The best things in life often happen from experimentation...

Ove Jonsson, Liaison manager Skanska International, Jinja, Uganda, March 15th 2002
… a very multi-ethnic group, five women and five men, Birgitta soon met with tactful and humorous psychological insights. After that, carefully chosen artworks served as a springboard for joyful games and analyses about relations and attitudes between us and the surrounding cultures.

… the program focused on art making, hands-on-activities that some of us rather had escaped from. Birgitta however created a very relaxed atmosphere where we all produced surprisingly beautiful art work….

…during the following assessments/exhibition we openly displayed and talked about our own paintings… symbols of stress, conflicts, hope, love. As one of the participants put it: I have during only one day learned to know not only my colleges but also myself, and I have learned to express subtle feelings be it in art or words.
BEC representatives are convinced that Birgitta Godlunds team-building concept is unconventional and free from prestige. We highly recommend Birgitta and her concept to any company or group as wish to improve teamwork and human development.

Carole Mahiti writer June, Nairobi, 1996
… [The] month-long art and poetry show at the French Cultural Centre … a good way of introducing young boys and girls to the world of the arts… Birgitta Godlund, a Swedish artist resident in Kenya, worked tirelessly for two years to produce the veritable feast of colours that was seen in this show.
What was impressive about this exhibition was the organised tours for everyone but especially for school children either as individuals or in parties… [She talks] about the need to introduce children to the finer things in life... [how] to appreciate the beauty around us and ... how to interpret art through using children's imagination… should be taken out in the field where they can be active and develop their skills… [It is important] to help the children relax and in a way that is progressive... taking them to activities such as these. Think about art, musical shows or fairs which involve the mind and body in a relaxing manner…

Sören Engblom Chefsintendent Moderna Museet 23 juni 1999
Birgitta Godlund kom till Moderna Museet i februari 1997 för att som timanställd delta i det konstpedagogiska arbetet kring utställningen Picasso och Medelhavets myter, museets sista utställning i Spårvagnshallarna. I det nya Moderna Museet har Birgitta Godlund arbetat i olika projekt sedan starten i februari 1998 med museets studio för skapande verksamhet, Verkstan,som bas…

…Birgitta Godlund har vidare gjort väsentliga PR-insatser för den verksamhet hon representerar samt skrivit artiklar i facktidskrifter som Bild i Skolan och BildForum…

I sitt arbete har Birgitta varit en uppskattad arbetskamrat och en orädd, målmedveten och energisk kraft. Hon har undantagslöst slutfört sina åtaganden med hängivet engagemang och god finish. J ag kan med stort förtroende rekommendera hennes person och hennes tör tjänster inom det konstpedagogiska fältet.

Susanna Hellberg, Dagens Nyheter Februari 1997
Premiärlejon - En Da’n före rundtur i Moderna Museet med Birgitta Godlund …

Allting var roligast... så långt är barnen överens, när de sammanfattar sitt besök. Men vid närmare eftertanke är det Robert Rauschenbergs fåraktiga get, "Monogram"; den med däcket kring magen, som vinner i popularitet... Per-Gustav, Matilda, Alba; Agnes och Fanny ska ha sin egen vernissage när Moderna museet slår upp dörrarna...

Charlotte Norlin, Moderna Museets personalporträtt n:o 4, 1998
…I'm as young as my tongue and as old as my tooth… säger Birgitta… Både pedagogiken och konsten låg i familjen... med tiden har Birgitta tillägnat sig en bred utbildning såväl praktiskt som teoretiskt... ”zigenartillvaro". Det här flackandet har bidragit till att hon nästan alltid har arbetat i projektform. Det har alltid varit snabba ryck… roligt att arbeta i projektform eftersom pedagogiken till sitt väsen är så processinriktad...

… Hon ser konstförmedling som ett möte och utbyte av erfarenheter och idéer. Dialogen är den enda demokratiska, "icke-koloniala" modellen för undervisning och sann kunskap....

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Art Critic Gethiga Gaceru, Nairobi, in a series of conversations January-March, 1993
While the debate among Kenyan artists over whether Kenyans in general have a taste for art works still rages on, most ordinary people may be forgiven if they feel that art work pieces are the confine of a certain class of people… looking at a sample of prices in some of the exhibitions tends to prove this particular point… Birgitta Godlund currently [says]… that there is always a contradiction between what one creates and the pricing of a piece of work… difficult to translate the sentimental value into monetary terms…

A lot of art today is in fact not meant to be purchased for a private house, says Birgitta Godlund… who has had a long experience of living among different cultures in various parts of the world…

…neither be dedicated to realistic nor to abstract artists… in an abstract artwork, "One is free to wander around by the very visual elements and patterns" that could also be found in a good realistic piece of painting… one needs "a little bit of goodwill" and patience at an abstract painting in order to understand it. But in the same breath points out that the quality of an abstract painting as well as that of the realistic work in "all societies and times are dependent on the use of techniques, underlying pure forms and the colours”…

Birgitta as a fine arts student in Bucharest. By the late Rumanian poet Nichita Stanescu

abstract works without titles, she says, may for instance spark off "a political dialogue by, for example, showing so called incomprehensible pieces of art in (say) a factory." On the other hand, the same piece of art shown in a fancy gallery may elicit a different kind of response… labelling art into strict categories could at times be difficult. The emotional experience is much more complex than that.

... artists, and the country for that matter should not, according to her, depend on private galleries as the custodians of the country's art… [there is] virtually no country which can exist without its own culture. And art is one of the major components of this… A museum of art, according to her, could therefore be one of the major means of exposing to the public that there exists serious art in the country… art workshops are held for school children… [with] certain undertakings such as research…

There is always a persistent lack of venue where their [artists'] works can be represented and where they can meet their fellow artists… having permanent venue of art works is one way of investing in one's children's future" in the form of the cultural heritage.

Art critic GM Sudarta in a talk with the artist, Jakarta 1989

… art exhibitions are to summon feelings, to produce reactions. Art is itself an expression of daily life and a means of communication…

Pop art, it is felt, is a relatively straightforward and facile way to connect difficult topics… themes outside of the conventional one of still life and nude models… willful and sometimes contrary (rebellious?)… the Modern Museum of Art in Stockholm. An interesting though exhausting period, I came to feel that the popular style was the most easily grasped of the grammar of art and led to the understanding of the classical and traditional… diversity of techniques… testing, analysis, and investigation of a new culture … describes the painting process … experimenting…

Lila Fitry Ali, Jakarta, January 1991

Bukan hanya Bali yang menjadi daya tarik di Indonesia. Negeri ini terlalu luas untuk dijelajahi. Ke-anekaragaman budaya juga meru-pakan inspirasi yang kuat, di samping alamnya clan orang-orangnya yang memiliki banyak dimensi. Sarinah sempat menemui Ken Pattern, Paul T Nagano, Carlos de Goyeneche, Birgitta Godlund, Marilies Forster-Romswinckel dan Jill Roland-Gosselin. Setelah berbincan-bincang dengan mereka, maka lahirlah tulisan di bawah ini...

Ada alasan lain pula mengapa pelukis asing ini datang ke Indonesia. Bagi Birgitta Godlund (pelukis Swedia), Jill Roland-Gosselin (pelukis Inggris) dan Marilies Forster (pelukis Austria) datang ke sini karena suami mereka ditugaskan di Indonesia... Para suami itu, ada yang bekerja di pihak swasta dan ada pula di pemerintahan. Birgitta dan Jill tinggal di Jakarta, sedangkan Marilies yang biasa dipanggil Marie tinggal di Bandung. Sudah 40 tahun ia berada di kota Kembang itu. Birgitta, yang merupakan istri orang kedua di Kedutaan Swedia telah tinggal di Indonesia sejak tahun 1987. Dan sudah pernah mengadakan pameran tunggal di Bentara Budaya, tahun 1989...

Bagi Birgitta, adalah sangat sulit iagi pelukis untuk menutup mata erhadap apa yang dilihatnya di sekelilingnya. Ia telah mengikuti tugas diplomatik suaminya ke berbagai negara. Sebelum di Indonesia, dia pernah berada di lrak dan Rumania. Dalam melukis dia banyak mengamati kehidupan sehari-hari. Taman Delakang di belakang rumahnya, kadang-kadang juga merupakan sumoer inspirasinya... Sebetulnya ia suka juga untuk mencari objek menarik bagi lukisan-lukisannya. Tapi ia punya keterbatasan, sebagai seorang asing dan atau sebagai wanita dalam mengeksplorasi tempat-tempat tertentu. Ada rasa tidak enak bila diperhatikan atau dikerumuni orang banyak. Sebagai penyelesaiannya, Birgitta memotret satu objek dari berbagai sisi. Kemudian dia balik ke studionya, mulai melukis dengan menggunakan foto-foto tersebut. Nanti dikembangkan dengan imaginasinya dan apa yang masih tertinggal di dalam memorinya. Kesulitan ini dibenarkan pula oleh Marie dan Jill...

Kalau Marie, tidak menggunakan kamera seperti Birgitta, tetapi ia selalu membawa buku sketch kecil ke mana-mana dia pergi... Bagi orang awam Indonesia, mungkin sulit bisa memahami lukisan konteks Indonesia di dalam lukisan-lukisan gaya ekspresionis. Seperti Birgitta, misalnya lebih banyak bermain dengan impresinya. Kalau ia berpikir tentang temperatur Indonesia yang sedemikian panas, maka dia akan banyak sekali menggunakan warna merah dan kuning. Perasaan density (kepadatan atau ketebalan) yang juga merupakan tipe Indonesia dapat juga disampaikan dengan dua warna ini pula. Bahkan untuk pohon palm yang hijau pun, dia bisa menggunakan warna merah, demikian pula sawah yang biasa hijau, di tangannya bisa menjadi kuning...

Semua ini merupakan refleksi panas yang luar biasa itu. Kalau berada di negerinya yang dingin itu, Swedia, Birgitta hanya memakai wama biru dan hijau yang menyejukkan. Pada bulan Mei mendatang, Birgitta, Jill, Carlos, Marie dan beberapa pelukis Masyarakat Eropa akan mengadakan pameran. Di sana ditampilkan sejumlah pelukis Eropa, dan sejumlah lagi dari Indonesia yang memiliki ciri Eropa atau pernah tinggal di sana...