Contested Javeneseness 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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Main Author: Adhyanggono, Gerardus Majella
Format: text
Published: Archīum Ateneo 2024
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Online Access:https://archium.ateneo.edu/kk/vol1/iss36/8
https://archium.ateneo.edu/context/kk/article/1863/viewcontent/KK_2036_2C_202021_208_20Regular_20Section_20__20Adhyanggono.pdf
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spelling ph-ateneo-arc.kk-18632024-12-19T03:42:11Z Contested Javeneseness in Sociocultural Documentaries of the Post-New Order Indonesia Adhyanggono, Gerardus Majella 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 situated within 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. 2024-12-19T06:06:24Z text application/pdf https://archium.ateneo.edu/kk/vol1/iss36/8 info:doi/10.13185/1656-152x.1863 https://archium.ateneo.edu/context/kk/article/1863/viewcontent/KK_2036_2C_202021_208_20Regular_20Section_20__20Adhyanggono.pdf Kritika Kultura Archīum Ateneo hegemony counter-imaginary interpretation narrative representation
institution Ateneo De Manila University
building Ateneo De Manila University Library
continent Asia
country Philippines
Philippines
content_provider Ateneo De Manila University Library
collection archium.Ateneo Institutional Repository
topic hegemony
counter-imaginary
interpretation
narrative
representation
spellingShingle hegemony
counter-imaginary
interpretation
narrative
representation
Adhyanggono, Gerardus Majella
Contested Javeneseness in Sociocultural Documentaries of the Post-New Order Indonesia
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 situated within 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 text
author Adhyanggono, Gerardus Majella
author_facet Adhyanggono, Gerardus Majella
author_sort Adhyanggono, Gerardus Majella
title Contested Javeneseness in Sociocultural Documentaries of the Post-New Order Indonesia
title_short Contested Javeneseness in Sociocultural Documentaries of the Post-New Order Indonesia
title_full Contested Javeneseness in Sociocultural Documentaries of the Post-New Order Indonesia
title_fullStr Contested Javeneseness in Sociocultural Documentaries of the Post-New Order Indonesia
title_full_unstemmed Contested Javeneseness in Sociocultural Documentaries of the Post-New Order Indonesia
title_sort contested javeneseness in sociocultural documentaries of the post-new order indonesia
publisher Archīum Ateneo
publishDate 2024
url https://archium.ateneo.edu/kk/vol1/iss36/8
https://archium.ateneo.edu/context/kk/article/1863/viewcontent/KK_2036_2C_202021_208_20Regular_20Section_20__20Adhyanggono.pdf
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