Transcript for ‘Blind Persons Can Do Massage Therapy’

Transcript for Out of Their Hands

The video starts with slow piano music.

Fade to black text on a yellow screen that says, “Due to limited education and employment opportunities, only half of all Indonesians with disabilities are employed.” On the bottom left of the screen, black text says, “Institute for Economic and Social Research | Faculty of Economics and Business, University of Indonesia.”

Fade to black text on the same yellow screen that says, “For Indonesians who are blind or low vision, the options are even more limited.”

Fade to Sadiah, an Indonesian woman wearing a green hijab, sitting on a gray couch and speaking to the camera in Bahasa Indonesia: “My name is Sadiah. I am visually impaired.”

Cut to pull-out shot of Sadiah kneeling and massaging the foot of a client who lays on a gray mattress on the floor. 

Cut to a pull-out shot of Sadiah massaging the back of the client, who is an Indonesian man. Sadiah’s voiceover continues, “I am a housewife and work as a masseur. I only have a very simple place.”

Fade to black text on a yellow screen that says, “The tradition of blind masseurs in Indonesia has existed for centuries, but now these practitioners face heavy competition from larger massage parlors and spas.”

Fade to black text on a yellow screen that says, “COVID-19 has only intensified these inequities as customers worry about social distancing and prefer to book appointments online.”

Cut to a pull-out shot of a sign in Bahasa Indonesia advertising the Rohim Blind Massage Parlor.

Cut to Sadiah sitting in the room, “Before the pandemic, I had already experienced a decrease in income.”

Cut to a pull-out shot of a sign in Bahasa Indonesia advertising the Rohim Blind Massage Parlor. Sadiah’s voiceover continues, “For example, if in the past I could massage three or four patients in one day, for now, in one day or one week I can only get three patients, which is very lucky.”

Cut to Sadiah speaking, “Especially during the pandemic, in the past two years.”

Cut to the sun rising over a deserted commercial street. Some birds fly across the street and land on the left sidewalk.

Cut to Sadiah speaking, “We masseurs, especially me, really had no patients who wanted to visit or use my services or our services for blind masseurs.”

Cut to a close-up shot of an Indonesian man pressing buttons on a large speaker strapped to his chest while a song plays from the speakers. He stands in a room.

Cut to Sutoro, the man with the speaker, singing into a microphone hanging from a cord around his head. Sutoro has gray hair and wears a red-and-gold shirt. In Bahasa Indonesia, his voiceover says, “My name is Sutoro.”

Cut to a blue-and-white sign in Bahasa Indonesia advertising the Blind Massage Parlor Assisted by West Jakarta Social Sub-Department. Sutoro’s speakers play a song in the background.

Cut to Sutoro massaging a client’s leg as they lay on a multi-colored massage table. Sutoro’s voiceover continues, “And my profession is a masseur or doing massages.” Music playing from Sutoro’s speakers fades into emotional piano music. 

Cut to Sutoro standing in front of a white wall and speaking to the camera: “But because of the situation and condition.”

Cut to Sutoro wearing sunglasses and using a white cane to walk on an edge of a busy street. A speaker is strapped to his chest, and several motorcyclists move by the street. Sutoro’s voiceover continues, “I ended up changing professions.”

Cut to Sutoro standing in the room, “Namely, in the morning I go to the market to carry out activities to become a street artist or busking.”

Cut to Sutoro singing into his microphone and adjusting his speaker in a room. 

Cut to a photo of an Indonesian woman wearing a green hijab and carrying many bags of crackers along the side of a road. An Indonesian boy, wearing a camouflage baseball cap, walks with her on the left. Cars and motorcyclists move by the road. Sutoro’s voiceover continues, “In the afternoon, I sell crackers around.”

Cut to a push-in shot of Sutoro massaging a client’s leg on a multi-colored massage table. His voiceover continues, “Because the massage profession is not sufficient for daily needs.”

Cut to a masseuse who is an Indonesian woman with black hair in a pulled-back hairstyle. She massages a white woman’s legs on a luxurious massage table overlooking the ocean. The client smiles as she receives her massage.

Cut to a close-up shot of a masseuse massaging a client’s feet. Sutoro’s voiceover continues, “Because now there are lots of sighted people doing massages.”

Cut to Sutoro speaking, “And now there are lots of massage places whose places are more luxurious because they have money.”

Cut to the Indonesian woman massaging another client’s back on a massage table. The client is a white woman wearing a bikini. The sun sets over trees and a bungalow in the background. Sutoro’s voiceover continues, “So the massage profession of the blind is eliminated.”

Cut to a push-in shot of a busy market in Jakarta and motorcyclists parked by the market stalls. Two identical high-rise buildings are in the background. Sutoro’s voiceover continues, “So I was forced to switch professions.”

Cut to Sutoro speaking, “Being a street artist is actually quite a challenge.”

Cut to several pedestrians and motorcyclists brushing past a busker, who is blind, in a busy market. The busker, an Indonesian man with short graying hair, holds a white cane. A microphone whose cord is around his neck, and a speaker is strapped to his chest. Motorcyclists honk and pedestrians speak in the background. Sutoro’s voiceover continues, “In the market, the barriers are clearly the passing of motorbikes.” 

Cut to Sutoro speaking, “So we have to be really careful because there are quite a lot of motorbikes pacing back and forth.”

Cut to the busker, who is blind, in the crowded market.

Cut to a cracker seller, an Indonesian woman wearing a beige hijab, sitting on the side of a busy road with many bags of crackers. The seller eats out of one of the bags. An Indonesian girl with long black hair sits next to the woman while a cyclist and motorcyclist move by on the street. 

Cut to another cracker seller, an Indonesian woman with black hair in a pulled-back hairstyle, sitting on the side of a busy road. Several cracker bags hang on a brown stick in front of her, and several motorcyclists move by the street. Sutoro’s voiceover continues, “When selling crackers, it’s not only blind people who sell them, now even sighted people sell them.”

Cut to the second cracker seller sitting on the side of a busy road at night. Cars and motorcyclists move by the street. Sutoro’s voiceover continues, “So it’s getting lonely, and I often throw them away because they don’t sell.”

Cut to Sutoro speaking, “So the crackers end up being wasted.”

Cut to a busker, an Indonesian man with short black hair, singing into a microphone from a curb at night and holding a white cane. Motorcyclists move by the street, and traffic noises are in the background.

Cut to Eka Setiawan, a middle-aged Indonesian man with short black hair. Setiawan wears a gray shirt, sits in front of a yellow wall, and speaks to the camera in Bahasa Indonesia: “I am Eka Setiawan.”

Cut to Setiawan wearing a white prayer cap, white earbuds, and speaking through a PA system at a large meeting. Most women at the meeting wear black hijabs, and most men have short black hair. One woman has black hair, and one man wears a blue-and-white prayer cap. All the meeting attendees wear face masks. Setiawan’s voiceover continues, “I am a blind activist who fights for the rights of people with disabilities.”

Cut to Setiawan standing in front of the yellow wall, “Since Indonesia ratified the UNCRPD in 2011 with Law 19 of 2011 which then domesticated the Law on Persons with Disabilities, Indonesia issued a disability law in 2016.”

Cut to a screenshot of black text on a white screen that says, “PRESIDENT OF THE REPUBLIC OF INDONESIA | LAW OF THE REPUBLIC OF INDONESIA NUMBER 8 OF 2016 CONCERNING PERSONS WITH DISABILITIES,” in Bahasa Indonesia. 

Cut to Setiawan speaking, “Until today, the existing conditions still make it difficult for people with disabilities.”

Cut to a busker, an Indonesian man wearing a black baseball cap. The man sings into a microphone whose cord is around his neck, and a speaker is strapped to his chest. He walks from car to car on a busy road, and traffic noises are in the background. Setiawan’s voiceover continues, “Especially the visually impaired, to carry out their profession.”

Cut to Sadiah massaging a client’s leg on a gray mattress. 

Cut to Setiawan speaking, “And incidentally most of the visually impaired still work as masseurs.”

Fade to black text on a yellow screen that says, “In South Korea, only people who are legally blind are allowed to become professional masseurs.”

Fade to black text on a yellow screen that says, “Indonesian activists have advocated for a similar law in their country to protect the livelihoods of those who are blind or low vision.”

Cut to Setiawan speaking, “In the current situation, the profession of a masseur for the blind does not seem to be a promising profession.”

Cut to a close-up shot of Sutoro massaging a client’s leg on a multi-colored massage table. 

Cut to pull-out shot of a white towel on a fancy massage table in a massage parlor. Tiny green lights line one section of the floor in front of the massage table. 

Cut to Setiawan speaking, “The massage profession has been cultivated by many non-disabled people whose packaging can certainly be much better and with much stronger capital, putting blind friends into the massage profession.”

Cut to a busker, an Indonesian man with black hair in a pulled-back hairstyle, singing into a microphone on a busy street at a market. Pedestrians and motorcyclists move by him, and music plays from a speaker.

Cut to an Indonesian woman, wearing a beige hijab, stopping to give money to a busker at a busy market. The busker, an Indonesian man, wears a blue cap and uses a white cane. A motorcyclist passes closely by the busker, and some people at the market wear face masks. Setiawan’s voiceover speaking, “Inevitably, blind friends change professions.”

Cut to Setiawan speaking, “I am sure that blind friends understand that the work they do is risky work.”

Cut to an Indonesian woman wearing a brown hijab and holding a white cane on a busy street. She sings into a microphone whose cord is around her neck, and a speaker is strapped to her chest. Setiawan’s voiceover continues, “But there are not many professional choices that can be made by blind friends. The advocacy needs to be continued.”

Cut to Setiawan speaking, “The hope that can be conveyed to all parties is that opportunities for friends with disabilities or blind people as masseurs must indeed be opened as widely as possible.”

Cut to an Indonesian woman wearing a white hijab. She stops a busker, an Indonesian man with black hair in a pulled-back hairstyle, to put money in his bag at a busy market. Music plays from a speaker.

Cut to Setiawan speaking, “And can actually be managed better. For example, in the world of tourism, the world of hospitality.”

Cut to an aerial shot of a luxury hotel in Indonesia. A large pool and trees surround the hotel.

Cut to Eka speaking, “So that blind people have better opportunities in their profession as masseurs.”

Fade to black text with a yellow border on a black screen that says, “Copyright – @2022 PPUA Disabilitas. All rights reserved.” 

Fade to black text with a yellow border on a black screen that says, “Made with support from the Disability Justice Project and Disability Rights Fund.” The Disability Justice Project logo is a large yellow “D” with a black play button in the middle to signify video storytelling, and white text says “Disability Justice Project” on the bottom left. The Disability Rights Fund logo – a white box with black text that says, “Disability Rights Fund” – is on the bottom right of the screen.

The emotional piano music fades out.

Transcript for A ‘Bitter Pill’

The video starts with a piano instrumental and a video of cyclists, vehicles, and pedestrians moving by a street in Jakarta, Indonesia. High-rise buildings are in the background.

Fade to a timelapse of vehicles moving by a traffic-packed, tree-lined street in Jakarta. High-rise buildings are in the background. An Indonesian woman’s voiceover in Bahasa Indonesia says, “I used to work in a company in Jakarta. In 2012 I was fired because I was discovered as a person with a mental disability.”

Cut to the person behind the voiceover – Nurhayati Ratna Sari Dewi, an Indonesian woman wearing a yellow hijab. She is the head of the Indonesian Mental Health Association (IMHA)’s branch in Jakarta. Dewi sits outside and speaks to the camera: “I have worked for 20 years at my job. But at that time I had a bitter experience that I was discovered to have bipolar disorder. And then, I was dismissed.” Several plants and an exterior stairway are behind her. 

Cut to Dewi working on a laptop in an office. She looks up to speak to someone off-camera. A long desk with office items is behind her.

Cut to Dewi speaking outside, “When I first started working, everything was normal. I started experiencing mental disability around 1997 when I was 18 years old. At that time, my condition was still mild, so I didn’t need to go to the doctor every month.”

Cut to Dewi sitting at a table outside. She is wearing glasses and a purple hijab. She speaks to a co-worker, who is wearing a white hijab on the left, and another person who is off-camera.

Cut to Dewi speaking, “I had a relapse in 2011 when I experienced baby blues postpartum. I did not know that this disease (Bipolar Disorder) should have regular treatment at the doctor every month.”

Cut to Dewi looking over a document with a co-worker in the office. Her co-worker, seated to the left, runs through the document with a pen. A laptop is in front of Dewi. Dewi is wearing a beige hijab, and her co-worker is wearing a white hijab. Another co-worker, wearing a black hijab, sits at the long desk in the background. Dewi’s voiceover continues, “I relapsed again in 2012. When I relapsed in 2011, I didn’t tell my boss that I was going to a psychiatrist.”

Cut to Dewi speaking, “And then when I went to a psychiatrist and it was discovered by the company’s doctor that I have bipolar disorder, eventually the stigma develops.”

Cut to Dewi speaking on a cell phone. She sits on a blue-and-white chair and leans against a white wall. 

Cut to Dewi speaking, “At that time, I accepted that fact because the stigma of a person with a mental disability or mental illness was very negative.”

Cut to a pan shot of Dewi and two co-workers working on laptops in an office. A woman is seated on the left, Dewi is in the middle, and a man wearing glasses is on the right. Dewi’s voiceover continues, “If I get caught, I’ll be laid off just like that, so I just took that bitter pill.”

Cut to Dewi looking through documents in the office. A man stands behind her. Dewi’s voiceover continues, “At the same time, my co-worker was suffering from chronic kidney disease.”

Cut to Dewi speaking, “Which means he and I both have a chronic disease, a long-term disease. But back then I was fired, whereas he wasn’t fired. I find this very unfair.”

Cut to Dewi listening and taking notes in a notebook as someone off-camera speaks to her. Dewi sits outside with another person. She is wearing a black hijab, black glasses, and a multi-colored face mask. 

Cut to Dewi speaking, “The disadvantage for person with mental disability at that time, is that we were not given reasonable accommodation, for example, a sick leave for us to rest. Instead, they judge us immediately. The disadvantage is that the stigma and discrimination against us is very unfair.”

Cut to Dewi and the two co-workers working on laptops in an office. The man removes an earbud and speaks to Dewi and the other co-worker. Dewi’s voiceover continues, “We were not given the opportunity to work, so it’s very detrimental for us.”

Cut to Dewi speaking, “But now there is law number 8 of 2016 where a person with disabilities cannot be fired for reasons of disability.”

Cut to a green-and-purple informational sign about the Indonesian Mental Health Association in Bahasa Indonesia. One forearm crutch is next to the informational sign.

Cut to Dewi speaking, “The solution for people with mental disability in general is actually reasonable accommodation, those adjustments. For example, we people with mental disability have to go to a psychiatrist every month, so what we hope from the company or the government, which will make government regulations reasonable accommodations.”

Cut to a close-up shot of an Indonesian woman’s hands as she works on a laptop. The woman is wearing a white hijab, and plants are in the background.  

Cut to Dewi speaking, “Is that they will allow us to see a psychiatrist for regular check-up once a month without any leave deductions. Second, we hope that they will give us time to rest when we are sick, don’t fire us.”

Cut to an Indonesian woman wearing a light pink hijab and suit. She walks to a window, takes a deep breath, and smiles. A shelf with plants is in the background. Dewi’s voiceover continues, “Third, provide us a quiet room to relax when we’re burned out or when we need some time to rest.”

Cut to Dewi speaking, “Fourth, give us worktime flexibility, because sometimes it’s hard for us to fall asleep at night. Also, allow us to come late or allow us to do our work from home because the important thing now is that we get our work done.”

Fade to two office workers looking over financial documents with pens. In front of them, a laptop and a computer are on a table. An Indonesian woman’s voiceover in Bahasa Indonesia says, “I used to work in a hotel in Bandung as accounting staff.” The piano instrumental from the start of the video transitions to another piano instrumental. 

Cut to the person behind the voiceover – Lily Puspitasari, a young Indonesian woman with long black hair. She is wearing black glasses, sitting in a room, and speaking to the camera: “My co-workers didn’t distinguish their attitude toward me because my illness had not been discovered at the time. But later, I attached a letter from a psychiatrist, that’s why my illness was discovered.”

Cut to a close-up shot of an Indonesian person opening a letter at a desk. A laptop, pen, and notebook are on the desk.

Cut to Pupsitasari speaking, “It was my own initiative because I skipped work for 2 days.”

Cut to a close-up shot of Puspitasari speaking, “Their response was very different from what I expected. Because I was expecting them to understand why I skipped 2 days of work.”

Cut to Puspitasari stepping through a brown door.

Cut to Puspitasari speaking, “But then, I didn’t get a first warning letter nor a second warning letter, but I was fired the next day after I attached the letter from my psychiatrist.”

Cut to Puspitasari sitting outside and flipping through a magazine. Her voiceover continues, “In my opinion, they should have given me a chance to explain why I attached the letter.”

Cut to Puspitasari speaking.

Cut to an Indonesian woman looking upset. She is frowning, and her hands are on her temples. The woman’s black hair is in a pulled-back hairstyle. She sits at a desk, and on the right, a small cardboard box contains binders and other office items. A co-worker walks up to her and pats her shoulders to console her.  

Cut to Puspitasari speaking, “They shouldn’t have fired me immediately and the government should have given us reasonable accommodations, so that I can feel like there’s a second chance to work. For example, a quiet room when we’re stressed or if we feel our productivity is low.”

Cut to plants, a table, and two chairs on a skyscraper balcony. Other skyscrapers are in the background. 

Cut to Puspitasari speaking, “Work can also be done from home.”

Cut to a close-up shot of an Indonesian person’s hands working on a laptop at a desk. A stack of books is on the desk. Puspitasari’s voiceover continues, “Because psychiatric medicine sometimes makes it hard for us to wake up in the morning.”

Cut to Puspitasari picking up a drink next to a kitchen stove and taking a sip. The kitchen’s counters are full of cooking ingredients and cooking tools. Her voiceover continues, “So it would be better if the usual worktime started at 8AM and finished at 5PM, shifted to start at 10AM and finish at 7PM. It’s fine in my opinion.” 

Cut to a young Indonesian woman wearing a beige hijab. She is working at a computer in an office with two co-workers. All the workers are wearing blue shirts. 

Cut to Puspitasari speaking, “Society should not treat us differently because we are the same human beings who have many shortcomings. So it’s better not to discriminate us because it will make us feel down.”

Fade to black text with a yellow border on a black screen that says, “Copyright – @2022 IMHA. All rights reserved.” 

Fade to black text with a yellow border on a black screen that says, “Made with support from the Disability Justice Project and Disability Rights Fund.” The Disability Justice Project logo is a large yellow “D” with a black play button in the middle to signify video storytelling, and white text says “Disability Justice Project” on the bottom left. The Disability Rights Fund logo – a white box with black text that says, “Disability Rights Fund” – is on the bottom right of the screen.

Transcript for ‘Not To Be Feared’

The video starts with cars and motorcycles moving by a busy street in front of the entrance of Jongaya Village in South Sulawesi, Indonesia. A large banner in Bahasa Indonesia, featuring two Indonesian men, hangs across a red-and-white arch over the Jongaya Village entrance, and a motorcyclist enters the village. Vehicles honk, and soft piano music plays in the background throughout the video.

Cut to black text on a yellow screen that says, “Jongaya Village is one of the few leprosy settlements that still exist in Indonesia today.” Audio of vehicle noises fades out.

Cut to black text on a yellow screen that says, “In the past, people with leprosy were forcibly quarantined, but today no one is compelled to live in Jongaya.”

Cut to black text on the same yellow screen that says, “Many decide to move here after experiencing discrimination in their own communities.”

Cut to Rahimi Daeg Rani, an Indonesian man who has experienced leprosy. Rani wears a red-and-white prayer cap, sits in a room and speaks to the camera in Bahasa Indonesia: “My parents used to live in a ward, when there was a ward at Jongaya Hospital.”

Cut to a pan shot of six Indonesian men sitting outside a building with graffiti on the exterior. An Indonesian girl walks up to the men. Rani’s voiceover continues, “When I was in elementary school, I had white stripes on my thighs and arms.” People talk off-camera.

Cut to Rani speaking in the room, “At that time my parents said, ‘You have to go for treatment because you have white stripes.’ Well, from there, I was immediately taken to the health center by my parents.” People talk and laugh off-camera.

Cut to an orange cat sitting in a narrow alleyway between houses with rusted corrugated metal roofs. The cat lifts its right leg and scratches itself. 

Cut to Rani speaking, “I entered here in Jongaya. I am happy because everyone is nice and friendly. We are the same people with disabilities.”

Cut to an Indonesian woman, wearing a green hijab, walking down an alleyway lined with laundry hung up to dry. Children talk off-camera, and an Indonesian child, at a window in a house to the left, waves to the woman. Rani’s voiceover continues, “There’s no interference.”

Cut to Rani speaking, “But if we go out on the street [outside Jongaya], many cars [public transportation] don’t want to take us people with visible disabilities.” People talk off-camera.

Cut to a multi-colored screenshot of an Indonesian news article with a headline in black text that says, “Stigma and Discrimination are Still Challenges for Leprosy Elimination in Indonesia,” in Bahasa Indonesia. Bimo Aria Fundrika wrote the news article for “Suara.com,” published on February 3, 2022.

Cut to Rani speaking, “Mine aren’t visible, but the visible ones, they are not allowed.” People talk off-camera.

Cut to a tilt shot of a telephone poll with many wires from nearby houses. A house with brick walls is on the left, and a child talks off-camera.

Cut to Rani speaking, “I prefer to be here because people from outside are dared enough already to enter here.”

Cut to a motorcyclist moving by an alleyway. A parked motorcycle leans on a rusted corrugated roofing sheet on the right, and a house with brick walls is on the left. Someone speaks off-camera.

Cut to Rani speaking, “It’s not the same as in the past. In the past people outside did not want to come here because in the past, people were very discriminatory.”

Cut to the red-and-white arch with a large banner in Bahasa Indonesia, featuring two Indonesian men, hanging over the entrance to Jongaya Village. 

Cut to Rani speaking, “We can say that Jongaya has a history too. That’s why the very outside gate, all the people here forbid its demolition because it shows the year Jongaya was founded.” People talk and laugh off-camera.

Cut to Indonesian children playing outside a two-story house with a rusted corrugated metal roof overlooking a canal that reflects the home. An Indonesian woman with shoulder-length black hair watches over the children.

Cut to Al Qadri, an Indonesian man and leprosy activist who has experienced leprosy. He has short black hair and eyeglasses, sits on a gray couch in a room and speaks to the camera in Bahasa Indonesia with hand gestures, “I was in this leprosy complex because of the stigma and discrimination against people who have leprosy. It was about 20 years ago. The stigma was still very vicious, very strong. So that if there is a family member experiencing leprosy, that person is banished from the family.”

Cut to a close-up shot of a rock hanging from a string tied to a telephone wire on a clear day outside.

Cut to Qadri speaking in the room with hand gestures, “A house is made for that person or that person is separated from the family. Hence, I took the initiative to leave my family since people believed that leprosy was a disgrace. If you had a family member with leprosy, no one would propose to the women in the family and the proposal from the men in the family would not be accepted. That made me decide to be in this complex. I left my family.”

Cut to a pan shot of a cement-floored, one-room apartment with household items and furniture. An Indonesian girl with short black hair sits on a small bed in the left-side corner. 

Cut to Qadri speaking, “After I decided to leave my family, I was looking for a village that suited me.”

Cut to a slow-motion shot of an Indonesian man walking down an alleyway with bright sunlight obscuring his face. A clothesline is on the right, a white sheet covers a parked motorcycle on the left, and a parked vehicle is on the left. 

Cut to Qadri speaking with hand gestures, “I went to several villages. I am from Lerang, Bone District. I went to some places in Pare-Pare City and some other villages. Those places, however, did not offer job opportunities that I felt were suitable, as there was only farming and making red bricks there.”

Cut to an Indonesian man, wearing a brown baseball cap, riding a motorcycle attached to a food cart around a corner. A canal and houses with rusted corrugated metal roofs are in the background. Qadri’s voiceover continues, “With hands like mine, working to make red bricks, they would end up ruining the bricks.”

Cut to Qadri speaking with hand gestures, “Now I’m finally at Jongaya here, I got a job as a parking attendant. That made me interested to stay here in Jongaya.”

Cut to vehicles and motorcyclists moving by a low bridge over a littered canal. A parked  pick-up truck and minivan face each other on the street. An Indonesian woman wearing a blue hijab walks by the canal.

Cut to Qadri speaking with hand gestures, “When I was here at the beginning, there were those that required much focus, there were many of them. There were 500 experiencing leprosy and suffering from organ damage or disability like me, there were many like that.”

Cut to a pan shot of a cemetery with cement headstones. Few parked motorcycles are by the cemetery, surrounded by trees. Qadri’s voiceover says, “But as time goes, the elderly passed away, the ones with disability did, too.”

Cut to a close-up, tilt shot of inscriptions on two gray headstones that say, “CANHOWAY RABU-22-11-2000,” and “JAP YON LIEN 27-10-72” respectively. Qadri’s voiceover continues, “So, what we see now is the percentage with organ damage or disability is already quite small.”

Cut to Qadri speaking with hand gestures, “If I’m not mistaken, there are around 200 who experience organ damage like I do. But the number who have experienced leprosy is still high there are around 450 people. But, compared to the population here, it’s a small number. There are already 1300 people here.”

Cut to a blue-and-yellow food cart driving down a dirt street and an Indonesian man with short black hair walking behind the food cart. Parked motorcycles are in the left foreground, and house plants lay on the dirt street in the background. A motorcyclist carrying a passenger moves by the street corner in the foreground, and a bell rings off-camera. Qadri’s voiceover continues, “People are not yet given the right information about this disease. That’s why many people who experience leprosy tend to hide themselves.”

Cut to Qadri speaking with hand gestures, “When one experiences leprosy, that person hides, not getting treatment, so that person is very likely to infect others.”

Cut to an Indonesian woman and a child sitting in an alleyway beside a house. Above them and in front of them are two filled clotheslines. Two Indonesian children walk towards the two sitting down.

Cut to Qadri speaking with hand gestures, “Common people identify leprosy like this, saying leprosy means curly fingers, shortened fingers, a body full of wounds, legs full of wounds, monster faces, etc., etc.”

Cut to a pan shot of a canal lined by small houses with rusted corrugated metal roofs. Qadri’s voiceover continues, “That is nothing but misunderstanding, as leprosy is actually a very simple disease.”

Cut to Qadri speaking with hand gestures, “It is indeed contagious, but it’s also the most difficult to spread.”

Cut to a close-up photo of leprosy scars on a person’s right shoulder. 

Cut to Qadri speaking with hand gestures, “Leprosy actually starts from patches on your skin as well as some numbness. That’s the start. But as the patches are not itchy or something like that, many people ignore these patches, they don’t care, with the bacteria found behind these patches, the ones that eat away the existing nerves.”

Cut to a tilt shot of a rusty bicycle sitting on top of a small house with a rusted corrugated metal roof. A telephone pole with many wires from nearby houses cuts through the small house’s roof. Red bricks, two white plastic chairs, and other items surround the house outside.

Cut to Qadri speaking with hand gestures, “I’m here, face to face with everyone here. If my bacteria were still active, surely they would have infected my friends.”

Cut to a pan shot from a window of a small room with three wooden beds. Several garments lay on top of each bed. Qadri’s voiceover continues, “How many in the room are infected? But, who can catch it? That chance is very small. First, there has to be more exposure, that’s how the public can really understand this disease.”

Cut to Qadri speaking with hand gestures.

Cut to a motorcyclist and an Indonesian woman passenger, wearing a blue hijab, entering Jongaya Village. A second motorcyclist with a passenger and a trunk filled with water jugs enters the village. Quadri’s voiceover continues, “That’s the first thing, to realize what it is.”

Cut to Qadri speaking with hand gestures, “To reduce problems with this disease, that’s the most important thing. Then involve those who have experienced leprosy. If they don’t want to, we demand them to be involved and testify, to create public awareness that there’s nothing to fear from this disease, that this can be fully cured.”

Fade to black text with a yellow border on a black screen that says, “Copyright – @2022 HWDI. All rights reserved.”

Fade to black text with a yellow border on a black screen that says, “Made with support from the Disability Justice Project and Disability Rights Fund.” The Disability Justice Project logo is a large yellow “D” with a black play button in the middle to signify video storytelling, and white text says “Disability Justice Project” on the bottom left. The Disability Rights Fund logo – a white box with black text that says, “Disability Rights Fund” – is on the bottom right of the screen.