20 research outputs found
"Tantangan Kajian Kesenian Kontemporer: Ruang Publik, Pasar, dan Kekuasaan"
Full text linkThere are two traditions in the anthropology of art: art as abstract cultural representation and art as expression or message of the artists to their audience. This article aims to balance these two traditions as alternative approach in the study of anthropology of art. Alternative approach is needed for most studies in the anthropology of art in Indonesia encounter difficulty to explain contemporary and traditional arts in the context of contemporary society. This alternative approach offers a view that art product is a synthesis of art production and history of political economy of the society. Marshall Sahlins (1976) suggests this approach which leads us to understand that culture is a symbolic order as also popularized by Louis Althusser. Hence, this article tries to understand symbolic order in the art product by discussing relevant theories in the anthropology of art
Biar Dhanyang yang Bicara: Film Spiritual dan Pesan Substansial dalam Kolaborasi Produksi Film Tetangga
Full text linkThis paper explores methods in making sure a film can make a statements to its audience, in this case to talk about true problems: local identities and atural resources, through non-realistic subjects: the spirits of the village. It focuses on film collaboration with a Javanese traditional performance group adapting their work to film. The project has both practical and research goals. The practical goal is to collaborate with a traditional performance from a rural area, and help facilitate their exploration of a new medium to express their narrative, aesthetic and cultural messages through film. On the other hand, the research goal of this project is to record, to understand, and to analyze this process, while laying the groundwork for further collaborations and researches in other contexts and with different communities. What so important is the exploration of the adaptation process of performance arts to film, and how the years of collaboration shapes this process and its products. When we look closely at the aesthetics of the films produced, we observed how they represent the group’s and the village’s culture, and the members’ and the villagers’ identities as well as the new set of film aesthetics that emerged from the collaboration.
‘Komik Indonesia itu Maju’: Tantangan Komikus Underground Indonesia
No full textThis paper illustrates the significance of underground comics in Indonesia in the absence of a national comics industry. Underground comics means that its selling is independent of common marketing channels, and the comics usually have non-conventional graphics and narrative style. The author focuses on the life and works of Athonk, an Indonesian independent comics' artist, bypasses conventional modes of marketing and strengthens the global network of independent comics' artists and fans through internet. Fed up with the absurdity of Indonesian cultural and political life, Athonk is consistently creating stories of contestation between the powerful and powerless with cynicism through his amusing characters and language. The author places Athonk in the context of Indonesia art history, and debate between 'high art' and 'low art' that dominates discussion of art in Indonesia. The situation discredits comics as a 'low art' form which makes it still very far from establishing its position. Ironically, public welcome his art and this motivates him to keep working. This article hopefully will give broader picture about Indonesian comics as a potential art form and expression in the future
Kolaborasi Pembuatan Film sebagai Etnografi
Full text linkThis paper explores the conceptual and methodological thinking of an ethnography of a collaborative film making with traditional Javanese performance groups, adapting their work from the stage to the screen. This paper specifically offers ethnography as practical research involving researchers and research subjects conducting film projects together. This project has indeed practical and research objectives. The practical goal is to collaborate with traditional rural performance groups, to help facilitate the exploration of their new media and express themselves through film. The research objective of this project is to record, understand and analyze the process, while laying the foundation for further collaboration and research in other contexts and with different communities
Collaborative Filmmaking with Traditional Performers in Highland Java: A Practice-Based PhD Thesis
Full text linkThis thesis analyzes the process of collaboration with a Javanese traditional
performance group in adapting their work to film. The project has both practical
and research goals. The practical goal is to collaborate with a traditional
performance group from a rural area, and help facilitate their exploration of a new
medium and to express themselves through film. The research goal of this project is
to record, understand and analyze the process, while laying the groundwork for
further collaborations and research in other contexts and with different
communities. The underlying research question for this thesis is: “how does
collaboration contribute and facilitate the group’s adaptation of its aesthetics and
artistic expression to film?”
To answer that question, it is important to first understand the group itself as local
collaborators, including their members, their identities, their problems and needs,
and the role of other villagers. The thesis establishes that the group has a long
tradition and history, particularly in performance arts, and the village community is
constantly in tension with ongoing social, political, and ecological changes, which
often provide inspiration for the themes and contents of their films. The next aim is
to understand the development of collaboration between the rural farmer-artists and
their urban filmmaker-academic collaborators: the backbone of this thesis. We can
see here that building “common ground” between collaborators from different
contexts is a long and challenging process. Another important theme of the thesis is
exploration of the adaptation process of performance arts to film, and how the years
of collaboration shapes this process and its products. Here we can see that it is
specific cultural values –not lack of access or sophistication– that drive the Tjipta
Boedaja dancers towards particular film production methods as well as particular
messages. When we look closely at the aesthetics of the films produced, we
observed how they represent the group’s and the village’s culture, and the
members’ and the villagers’ identities as well as the new set of film aesthetics that
emerged from the collaboration. The local collaborators relate their techniques and
approaches to storytelling to the varieties of local performances. Film in this
context is largely determined by the complexities of the locale and its aesthetics and
audience preferences. Finally, the project works with the group’s latest film
productions, exploring what the collaborators had learned from the long
collaboration process, adaptation of filmmaking methods, and establishment of film
aesthetics. At this point, the thesis offers empirical confirmation that the
filmmaking collaboration between two factions from different backgrounds must
establish trust, build complex insights into all the collaborators’ cultures and power
relations, and foster willingness for intensive investigation of the most salient local
aesthetics and messages possible
From Stage to Screen: Early Filmmaking of Indigenous Performers in Highland Central Java
Full text linkThis paper is based on an empirical study that explores issues around the process of a traditional performance art group in a village in highland Central Java adapting to film production. Wayang orang—or loosely translated human puppet—is a traditional opera-like performance rooted in Central and East Java, Indonesia. As part of a traditional society living in a rural area, members of the group discuss their productions mostly without written documents. Storylines were experienced through performing and watching different shows. Technical skills were built through lifelong intimate practices. The project explores a general explorative question: how does a traditional oral and aural art group adapt to electronic apparatuses of cinema and create their films? In answering this question, the research uses ethnography or participant observation followed by filmmaking collaborations that involve these artists, the writer and different filmmakers from the industry. The writer positions himself as the producer for the films, supporting and managing the members of the group to explore their own artistic decisions. This paper focuses on one particular production at the early stage of the project
PARA HARIMAU YANG MENOLAK PUNAH: ESTETIKA DOKUMENTER TELEVISI DI ERA PASCAREFORMASI
Full text linkABSTRAKPara Harimau Yang Menolak Punah(Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) merupakan judul dokumenter televisi produksi Eagle Institutedengan ciri filmis berupa paduan antara gambar dan tuturan (wawancara). Dokumenter ini merupakan objek material yang menarik untuk diteliti dalam konteks kontinuitas dan perubahan estetika, selama era pasca reformasi dengan zaman Orde Baru sebagai pembanding. Jika pada masa orde baru, kampanye pelestarian lingkungan melalui media dokumenter notabene diproduksi oleh pemerintah melalui estetika sinematik yang bersifat propagandis, maka saat ini dokumenter produksi Eagle Institutejustru menggunakan estetika sinematik yang kritis sebagai konter bagi pemerintah. Fakta dan fiksi (faksi) menjadi istilah yang digunakan dalam penelitian ini sebagai bentuk kontinuitas dan perubahan dokumenter televisi Indonesia. Alasan pemilihan istilah ini adalah dunia fenomenal dalam banyak kasus, seperti yang terlihat dalam dokumenter, seakan berbeda dari "dunia nyata", meskipun dalam kenyataannya rekaman itu berasal dari “dunia nyata/realitas”. Penelitian ini menggunakan pendekatan film kognitif untuk mengamati sejauh mana Faksi beroperasi sebagai media kritik yang secara estetis merangkai dokumenter tersebut. Struktur mental digunakan untuk menjelaskan Faksi melalui petunjuk filmis hingga diperoleh kesimpulan tentang kritik yang ingin disampaikan melalui dokumenter. ABSTRACTPara Harimau Yang Menolak Punah (Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) is the title of a television documentary produced by Eagle Institute. The documentary has characters that specifically contains of expository shots. This documentary is an interesting material object to be examined in the context of continuity and aesthetic change, during the post-reform era with the New Order era as a comparison. During the new order era, environmental conservation campaigns through documentary media were produced by the government through propagandist cinematic aesthetics. Whereas, the post-reform documentary produced by Eagle Institute actually uses a critical cinematic aesthetic as a counter for the government. Fact and fiction (faction) became the term used in this study as a form of continuity and change of Indonesia documentary. The reason for choosing this term is the phenomenal world in many cases, as seen in the documentary, as though it were different from the "real world", even though in reality it came from "the real world". This study uses a cognitive film approach to observe the extent to which the Faction operates as a criticism medium which aesthetically assembles the documentary. The mental structure is used to explain the Faction through filmic clues to the conclusion of the criticism that the documentary wishes to convey.
