Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia
This article fleshes out how two Indonesian sociocultural-themed documentary films of the post-New Order era articulate the counter-imaginaries of Javaneseness. They are Jamu (Javanese Traditional Medicine) and Kulo Ndiko Sami (We are Brothers). The emergence of bringing the issue of Javaneseness to...
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ftunivmanilaojs:oai:ojs.journals.ateneo.edu:article/3431 2023-05-15T18:12:47+02:00 Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia Adhyanggono, Gerardus Majella 2021-02-27 application/pdf https://journals.ateneo.edu/ojs/index.php/kk/article/view/KK2021.03607 https://doi.org/10.13185/KK2021.03607 eng eng Ateneo de Manila University https://journals.ateneo.edu/ojs/index.php/kk/article/view/KK2021.03607/3245 https://journals.ateneo.edu/ojs/index.php/kk/article/view/KK2021.03607 doi:10.13185/KK2021.03607 Copyright (c) 2021 Kritika Kultura Kritika Kultura; No. 36; 121-165 1656-152x 2094-6937 10.13185/KK2021.036 hegemony counter-imaginary interpretation narrative representation info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2021 ftunivmanilaojs https://doi.org/10.13185/KK2021.03607 https://doi.org/10.13185/KK2021.036 2022-03-07T10:32:27Z This article fleshes out how two Indonesian sociocultural-themed documentary films of the post-New Order era articulate the counter-imaginaries of Javaneseness. They are Jamu (Javanese Traditional Medicine) and Kulo Ndiko Sami (We are Brothers). The emergence of bringing the issue of Javaneseness to light has its cause on its complex politicization in the New Order regime. Javaneseness was ideologically manipulated as the hegemonic narrative of the state to construct an image of Indonesian society. Javaneseness incorporated by the regime was of a desired aristocratic model in combination with other non-Javanese worldviews.This desired strand of imagining was then politically used to simplify the whole gamut of Javanese cultures and marginalize other ethnic cultures. With the collapse of the New Order, sociocultural activists and filmmakers of the grassroots regarded the burgeoning of independent documentary filmmaking as momentum to utilize documentary film as a medium to project alternative interpretations of Javaneseness. The article proposes a symptomatic reading of the examined films by looking at their aesthetics and ideological aspects framed and situatedwithin the oppositional views of the imagined community by Benedict Anderson and Partha Chatterjee. By drawing on the films’ aesthetics and ideologies that articulate Javaneseness, this article aims to show two points. First, the counter-imaginaries of the New Order’s Javaneseness are projected through the documentaries and such projections prove to be dynamic. Second, inclusive views on how to represent ethnicities in contemporary Indonesia need promulgating. Article in Journal/Newspaper sami sami Ateneo de Manila University: Journals Online Benedict ENVELOPE(-66.585,-66.585,-66.157,-66.157) Kritika Kultura 36 |
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Open Polar |
collection |
Ateneo de Manila University: Journals Online |
op_collection_id |
ftunivmanilaojs |
language |
English |
topic |
hegemony counter-imaginary interpretation narrative representation |
spellingShingle |
hegemony counter-imaginary interpretation narrative representation Adhyanggono, Gerardus Majella Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia |
topic_facet |
hegemony counter-imaginary interpretation narrative representation |
description |
This article fleshes out how two Indonesian sociocultural-themed documentary films of the post-New Order era articulate the counter-imaginaries of Javaneseness. They are Jamu (Javanese Traditional Medicine) and Kulo Ndiko Sami (We are Brothers). The emergence of bringing the issue of Javaneseness to light has its cause on its complex politicization in the New Order regime. Javaneseness was ideologically manipulated as the hegemonic narrative of the state to construct an image of Indonesian society. Javaneseness incorporated by the regime was of a desired aristocratic model in combination with other non-Javanese worldviews.This desired strand of imagining was then politically used to simplify the whole gamut of Javanese cultures and marginalize other ethnic cultures. With the collapse of the New Order, sociocultural activists and filmmakers of the grassroots regarded the burgeoning of independent documentary filmmaking as momentum to utilize documentary film as a medium to project alternative interpretations of Javaneseness. The article proposes a symptomatic reading of the examined films by looking at their aesthetics and ideological aspects framed and situatedwithin the oppositional views of the imagined community by Benedict Anderson and Partha Chatterjee. By drawing on the films’ aesthetics and ideologies that articulate Javaneseness, this article aims to show two points. First, the counter-imaginaries of the New Order’s Javaneseness are projected through the documentaries and such projections prove to be dynamic. Second, inclusive views on how to represent ethnicities in contemporary Indonesia need promulgating. |
format |
Article in Journal/Newspaper |
author |
Adhyanggono, Gerardus Majella |
author_facet |
Adhyanggono, Gerardus Majella |
author_sort |
Adhyanggono, Gerardus Majella |
title |
Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia |
title_short |
Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia |
title_full |
Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia |
title_fullStr |
Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia |
title_full_unstemmed |
Contested Javaneseness in Sociocultural Documentaries of the Post-New Order Indonesia |
title_sort |
contested javaneseness in sociocultural documentaries of the post-new order indonesia |
publisher |
Ateneo de Manila University |
publishDate |
2021 |
url |
https://journals.ateneo.edu/ojs/index.php/kk/article/view/KK2021.03607 https://doi.org/10.13185/KK2021.03607 |
long_lat |
ENVELOPE(-66.585,-66.585,-66.157,-66.157) |
geographic |
Benedict |
geographic_facet |
Benedict |
genre |
sami sami |
genre_facet |
sami sami |
op_source |
Kritika Kultura; No. 36; 121-165 1656-152x 2094-6937 10.13185/KK2021.036 |
op_relation |
https://journals.ateneo.edu/ojs/index.php/kk/article/view/KK2021.03607/3245 https://journals.ateneo.edu/ojs/index.php/kk/article/view/KK2021.03607 doi:10.13185/KK2021.03607 |
op_rights |
Copyright (c) 2021 Kritika Kultura |
op_doi |
https://doi.org/10.13185/KK2021.03607 https://doi.org/10.13185/KK2021.036 |
container_title |
Kritika Kultura |
container_issue |
36 |
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1766185268020248576 |