Rise Ahead of Regime Downfall: Historical Review of Indonesian

Animation from 1966 to 1998

Arik Kurnianto

, Ahmad Faisal Choiril Anam Fathoni

Animation Program, Visual Communication Design Department, School of Design, Bina Nusantara University, Jakarta,

Indonesia

Keywords: Animation History, Indonesian Politics, Indonesian New Order, Public Policy

Abstract: This study aims to explain the development of Indonesian animation during the New Order era (1966-1998).

The regime that has been in power for 32 years, with all its political and economic policies has had a major

impact on the development of Indonesian animation. Using the historical approach, this research tries to

explore historical facts related to Indonesian animation through literature review and in-depth interviews

with animation figures in the New Order era. The results show that Indonesian animation in the New Order

era is dominated by animation for advertising, some animations for TV series, and no feature-length

animations at all. The slow development of Indonesian animation in the New Order era is closely related to

the political and economic policies of the regime, especially the policy relating to television which became

the main medium for animation at the time. The Indonesian animation finally found its momentum of

resurgence through the first major national event of comics and animation, titled “National Comic and

Animation Weeks of 98” (PKAN 1998) in February 1998 in Jakarta. Two months before the New Order

regime collapsed through the movement of Reformation in May 1998. The event was organized on the

initiative of animators, studios, comic and animation communities, art and design colleges, and gained

support from the New Order government through the Ministry of Education and Culture at the time. PKAN

98 is what can be claimed as the beginning of Indonesian animation resurrection formally. An irony,

Indonesian animation precisely rise up at the end of the downfall of the New Order.

1 INTRODUCTION

Animation is a medium of art that in the context of

the history of global animation has long-standing in

Indonesia, namely through wayang as the origin of

animation before the discovery of the film at the end

of the 19th century by Lumiere Brothers (Koendoro,

1998). But long rooted does not mean Indonesian

animation is growing rapidly. On the contrary,

Indonesian animation is very slow progress,

especially in the New Order era. Although by some

figures, the 80s during the New Order period was

often regarded as the beginning of the rise up of

Indonesian animation, but the fact Indonesian

animation never really rose that time, proved by the

lack of animation produced and too dominant of

imported animation. For 32 years no more than ten

animated series titles were produced, not even a

single feature-length animation produced during the

New Order. Indonesia only produced the first

feature-length animation in the Reformation era,

through animation entitled "Homeland" in 2004,

with the quality still far below the feature-length

animation of America or Japan. Animation during

the New Order period was dominated by animation

for advertising (Kurnianto, 2015).

Historically, attempts to make animated films

have been done since 1955 (in the Old Order era).

That is after President Soekarno sent a famous artist

at the time, Dukut Hendronoto to learn animation

directly to Disney Studios in the United States in

1955. Soekarno in 1956 even visited Disneyland,

welcomed by Walt Disney himself. Soekarno then

listed as the first president to visit Disneyland in a

series of his trip to the United States. Dukut then

much involved in the production of animation in the

State Film Company (Perusahaan Film Negara/PFN)

and Televisi Republik Indonesia (TVRI). The first

Indonesian animation created by Dukut titled "Si

Doel Memilih", a 2D short animation propaganda

produced with PFN. PFN is a Dutch state-owned

film company revitalized during Soekarno's reign.

338

Kurnianto, A. and Anam Fathoni, A.

Rise Ahead of Regime Downfall: Historical Review of Indonesian Animation from 1966 to 1998.

DOI: 10.5220/0010007600002917

In Proceedings of the 3rd International Conference on Social Sciences, Laws, Arts and Humanities (BINUS-JIC 2018), pages 338-343

ISBN: 978-989-758-515-9

While TVRI, newly founded in 1962 also on the

initiative of Sukarno. After the fall of the Old Order

regime, TVRI in the New Order era became one of

the main propaganda media of the new government.

New Order government policies related to television,

both TVRI and private television influenced the

development of Indonesian animation during the

New Order period until the later era (reform era).

This happens because television is the main medium

of animation in that era, which in the context of the

history of global animation is called the era of

television (1958 - 1985) (Cavalier, 2011).

Based on the description above, it takes a

historical review to see traces Indonesian Animation

especially in the New Order. Why the New Order?

The Indonesian animation period in the New Order

era was chosen because there was no clear

agreement on the period of Indonesian animation

history. This happens because of the lack of study

and research of Indonesian animation history. Gotot

Prakosa is the first academician and practitioner of

animation to ever do an animation history research

for his thesis. In his thesis, Prakosa also uses the

Indonesian political history to reverse the history of

animation, entitled "Indonesian Animation in the

Reformation era" (Prakosa, 2004). Therefore the

periodization of Indonesian animation following the

period in political history is used solely to facilitate

the scope of the study as well as complement the

previous research. In addition, the strong political

and economic influence and the duration of the New

Order regime in power also became an indispensable

consideration in viewing the development of

Indonesian animation.

So the outline of this paper will describe how the

development of Indonesian animation in the New

Order era. With three main points namely; 1) What

is the political and economic policy of the New

Order and its influence on the development of

Indonesian animation? Especially related to the

policy related to television as the main media of

animation at the time. 2) What kind of animation

form is prominent during the New Order created by

animators or animation studios in Indonesia?

Especially animated for television, both TVRI and

Private TV. 3) What is the role of animators,

animation studios, and animation communities in an

effort to rip off Indonesian animation revival during

the New Order?

2 METHODS

Historical studies, especially in arts and design are

divided into two groups: (1) A historical overview of

a particular work or design activity, (2) Review of

design history (Sachari, 2005). Methods in historical

research or called the historical method consists of

four stages namely; Heuristics (data collection),

source criticism, interpretation, and historiography.

Collection of historical sources through interviews

and literature studies. Interviews in this study as

primary sources, and literature studies as secondary

sources. As a preliminary research, the authors

conducted in-depth interviews to figures who had

been involved in the development of Indonesian

animation, among others; Wagiono Sunarto, Gotot

Prakosa, Amaroso Katamsi, and Syah Inderaprana.

Literature study is conducted on library archives,

especially those in Sinematek Indonesia and

National Archives. Analysis and presentation of data

is done in diachronic or synchronous.

3 LITERATURE REVIEW

Indonesian animation research and studies is still

very limited. The one who started the animated

history research was Gotot Prakosa in 2004 through

a thesis entitled: "Indonesian Animation in a Reform

Era". The thesis focuses on the history of Indonesian

animation of reformation era, a political history of

Indonesia after the fall of the New Order regime in

1998 (Prakosa, 2004). Prakosa himself in the

interview much regrets the lack of study and

research and archiving data animasi Indonesia. For

example, the first Indonesian animated film ever

made by Dukut Hendronoto in 1955 until now is

unknown and claimed to have disappeared (Prakosa,

Sejarah Animasi Indonesia, 2014), (Prakosa, Film

Pinggira; Antologi Film Pendek, Film

Eksperimental, dan Film Dokumenter, 2008). Even

Wagiono Sunarto as a direct student of Dukut

Hendronoto stated never before seen the first

animated Indonesian form (Sunarto, 2014).

In a previous study, in addition to finding the

lack of research and archiving of animated films, the

authors also found the fact that Indonesian animation

fates similar to comics and films but not "lucky"

both medium. New Order films faced ups and downs

but never found a golden age in the 80s before the

"coma" in the 90s. While the Indonesian comics had

triumphed in the 70s and receded in the year 80 until

finally "coma" in the 90s. The difference is that if

Rise Ahead of Regime Downfall: Historical Review of Indonesian Animation from 1966 to 1998

339

movies and comics have experienced a golden age in

the 80s and 70s, animation has never enjoyed such

periods in the New Order era, even until now

(Kurnianto, 2015). In addition to dealing with

government policy, this is related to the complexity

of animated film production when compared to film

or comic production. Animation requires far greater

resources, especially the relatively expensive human

and tech resources of the day. The discovery of

digital technology for animation that ultimately

helped the development of Indonesian animation to

grow more rapidly in the Reform era (Prakosa,

Animasi: Pengetahuan Dasar Film Animasi

Indonesia, 2010) (Inderaprana, 2014).

4 RESULTS AND DISCUSSION

4.1 The New Order's Political and

Economic Policy on Television and

Its Impact on Indonesian

Animation

After the fall of the Old Order regime and changed

into the New Order Regime at 1966, political and

economic changes that have wide impact on the

Indonesian people lives took place. The New Order

government changed the political and economic

direction of government to be pro-Western and more

liberal. The focus of the New Order government was

economic growth that supported by political stability

which then eventually led to authoritarianism

(Ricklefs, 2001). In this study, economic factor

along with political and economic policies of the

New Order government influenced cultural

developments a lot, especially cinema or film

(Nugroho & Herlina, 2014). In the reign of the New

Order the film industry never evolved into important

and respected industry because of the regime’s

cynical view against the role of film in country

development (Heryanto, 2015). The same cynical

view also applies to animation, a more complex and

expensive medium when compared to films at that

time. Moreover, government focus at that time was

on the natural resource-based and agricultural

industries sector. So, it is not surprising that in the

reign of the New Order, no more than 10 titles of

television animation series ever produced and never

produce animated movies even once. The animations

produced in this era are mostly animated for Ads. It

cannot be separated from the New Order policy that

was set TVRI as the only national television at the

time. As the only national television station,

government policy relating to TVRI has been shaped

the development of animation as one of the show's

content. The New Order's policy for television

station made it as a mouthpiece of government

development propaganda and its status as a state

television. This policy generates strong government

control over the content of the show (Armando,

2016). The option to made TVRI as a government-

controlled broadcasting system and not a private or

public broadcasting agency, according to Armando

is a common option in many countries in the third

world. But the choice has serious consequences for

animation. In the midst of government efforts to

build economic growth supported by political

stability, the government has very strict control over

the content or programs of TVRI. Programs or

television programs must, of course, be aligned with

government programs. Consequently, the creativity

related to the program content becomes very limited.

Especially with the lack of financial support for

TVRI.

Therefore, as TVRI efforts to obtain additional

funds, in the 1970s TVRI create a special program

called "Mana Suka Siaran Niaga". This program

triggers animation production specifically for

advertising. Anima Indah animation studio that is

considered as the first animation studio in Indonesia

at that time produced many animations for

advertisement. Anima Indah was founded in 1972 in

Jakarta by an American named Lateef Keele. But the

advertising phenomenon in TVRI did not last long.

That is after the government decided to ban

advertising on TVRI because it is considered to

trigger consumptive culture and social inequality in

Indonesia. This move was taken by Presidential

Decree on April 1, 1981 through the Decree of the

Minister of Information (Armando, 2016). The

removal of ads on TVRI automatically removes one

of the TVRI funds and affects the entire system

within its ad network and its advertisers. Some

animation studios that originally relied on ad

production eventually died, including Studio Anima

Indah (Prakosa, Animasi: Pengetahuan Dasar Film

Animasi Indonesia, 2010). With the expensive tools

and the lack of human resources for animation,

TVRI subsequently took a brisk walk by importing

animated films especially from the United States to

fill the vacant in animated series content especially

for the children segment. The funding issue is also a

constraint in the famous Si Unyil series production

during the New Order era. Where originally PPFN

with Soeryadi (Pak Raden) as the initiator, planned

to make the Si Unyil series in animation form in 80s.

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But because of lack of the cost, Si Unyil produced

into puppet animated series (Sunarto, 2014).

By the 90s, after several years of constraints,

local entrepreneurs with special access to President

Suharto, who had the highest authority in making the

decision, finally established the first private

television station in Indonesia, RCTI (Rajawali

Citra Televisi Indonesia) in 1987. Followed then in

1990, SCTV (Surya Citra Televisi) was established,

and TPI (Televisi Pendidikan Indonesia) as well.

The birth of this private television according to

Armando is without a blueprint. Because the birth of

Indonesia's first private television is not the result of

mature government planning. As a result, there is a

lot of overlapping regulation surrounding

broadcasting media due to the seizure of influence

and government support (Armando, 2016) (Katamsi,

2014). But the presence of private television re-

grows the passion of television advertising that had

stopped almost 10 years earlier. According to Dwi

Koendoro the birth of private television encourages

the birth of animation companies as well, especially

for the makers of advertising film, in addition to

event bumper, graphic layout and the possibility of

making animated series. However, the presence of

private television does not provide a wide

opportunity for Indonesian animation to compete

with imported animation (Koendoro, 1998). Private

television policy related to local content and

overlapping government regulation on private

television, actually contributes bigger portions for

imported animations especially animation from

Japan, after dominated by animation from United

States previously in TVRI era.

4.2 Indonesian Studio and Animation

Production in the New Order

Period

In the reign of the New Order, TVRI was the only

TV station in Indonesia until the national private

television came up in 1987. TVRI has also started

broadcasting animated films created by Walt Disney

and Hanna-Barbera circa 1970 (Prakosa, Animasi:

Pengetahuan Dasar Film Animasi Indonesia, 2010).

At the same time, there was also came up a new

policy on TV commercial serving in TVRI which

bring "Mana Suka Siaran Niaga" program up. That's

when the animated TVC was born in Indonesia that

gives a real picture of the state of the animated film

industry that cannot be separated from the growth of

television. Animation in TVC form became vibrant

and succeed to spur economic income and growth

both TVRI and various parties that involved in the

TVC manufacture, including some animation

studios. Anima Indah animation studio that is

considered as the first animation studio in Indonesia

which at that time produced a lot of TVC animation

is one of them. Anima Indah was established in 1972

in Jakarta founded by an American named Lateef

Keele. Anima Indah is among the pioneers of

animation in Indonesia as it sent their crew to

England, Japan, America and others (Sunarto, 2014).

The Animator consist of; Denny Djunaid, Wagiono,

Darmono Sudarsono, Purnomo Adi, and Partono.

After Anima Indah broke up, all crew are continued

their profession in the animation world. Denny

Djunaed is like followed Dukut Hendronoto

footsteps, he had the opportunity to visit Disney

Studios in Burbark California, United States. As he

returns to Indonesia, he produced animated cartoon

series "Putra Angkasa" together with Wagiono, as it

sponsored by “Yayasan Kesejahteraan Anak

Indonesia (YKAI)”. But the series stopped in two

episodes due to funding constraints (Koendoro,

1998).

A private television called RCTI was established

in 1987. SCTV, and TPI, others private TV station

followed later in 1990. The presence of private

television re-grows the passion of TVC that had

stopped for almost 10 years. The birth of private

television according to Dwi Koendoro encourages

the birth of animation companies, especially for

TVC making, in addition to event bumper, graphic

layout and the possibility to make animated series.

The animation after the birth of a private television

station was considered astonishing by Koendoro,

who saw a lot of Indonesian potential artists in

animation performance. What is meant by Koendoro

is primarily digital animation has begun to grow

since the mid-90s (Koendoro, 1998). That animated

studios include Yasawirya Tama Cipta (YTC) by

Youk Tanzil, Jatayu Cakrawala led by Harry Simon,

and Media Animasindo by Cici and Daniel Harjanto.

Media Animasindo as Proanimasindo partner, then

worked on hand drawing combined with computer

animated series titled "Satria Nusantara" that played

on TPI. Beside that there are Avigra and

Spectagraphic studio that also located in Jakarta.

While in Surabaya also established PT Index that

produces the counseling film that won the FFI

trophy in 1994. Even PT Index, which has only 10

members, was able to create the first 3D animated

computer series titled "Hela Helli Hello" (Koendoro,

1998). Some other studios include Juwita Indah, Red

Rocket Animation Studio in Bandung, and Bening

Studio in Yogyakarta.

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341

4.3 Animator, Community, and

Indonesian Animation Festival in

the New Order Era

According to Gatot Prakosa in the 70s many films

using 8mm celluloid cameras, rampant use of

cameras make the film as a trigger film and

animation festivals. In 1973 Mini Film Festival

initiated by the Jakarta Arts Council (DKJ) came up.

From this festival comes the name of Dwi Koendoro

through his short animation entitled "Stone"

(Prakosa, Film Pinggira; Antologi Film Pendek,

Film Eksperimental, dan Film Dokumenter, 2008).

Dwi Koendoro is a cartoonist who learns animation

by self-taught. Thus in the 70s in addition to TVC

animation, it began to appear short animations that

are more experimental for the needs of film and

animation festivals. Dwi Koendoro is one of

Indonesia's premier animation pioneers, along with

Mulyono, Daniel Harjanto, Wagiono, Denny

Djuaned and Johny Jauhari pioneered the founding

of Indonesia's first animation association named

ANIMA (Association of Indonesian Animation) in

1993 (Koendoro, 1998) (Katamsi, 2014).

Experimental animations also appeared at 80s

especially made by IKJ students including Gotot

Prakosa in it. The animations are able to penetrate

international animation festivals in several countries

from Germany, Netherlands, France, to Japan. Those

short animation has succeeded in raising the image

of Indonesian animation globally, something that is

difficult to do by animation TVC at that time.

Ahead of the fall of the New Order in the midst

of the economic crisis that struck Indonesia as well

as Asian countries, just two months before the big

demonstration known as the May 1998 Reform

Movement, there was National Comics and

Animation Week 98 (PKAN 1998). The first major

event of Indonesian comic and animation was

successfully held from 6 to 12 February 1998 in

Jakarta. The event brought together academics,

practitioners, enthusiast, and various comic and

animation communities of Indonesia and gained the

support of the New

Order government through the

Ministry of Education and Culture of the Republic

of Indonesia at the time. This grand event was

declared by Dwi Koendoro as an animated milestone

of Indonesia (Koendoro, 1998). Thus PKAN 1998

can be considered as the beginning of the awakening

animasi Indonesia, which ironically occurred at the

end of the fall of power of the New Order regime.

5 CONCLUSIONS

The development of Indonesian animation cannot be

separated from the context of Indonesian political

history. The New Order's political era, which had

been in power for 32 years, proved to have a lot of

influence on the development of animation in

Indonesia, especially the policy related to television

as the main medium of animation at that time. As a

developing country, animation as a complex and

expensive art medium at the time, requires full

governmental sustainability in support of its

development. The focus of the New Order

government on economic growth by relying on

natural resource-based industries and agriculture,

which is sustained by political stability ultimately

leads to authoritarianism. On that basis the New

Order government made television as a medium of

political propaganda with tight control of the state.

Impact, high cost animation, great creativity space,

as well as adequate resources are in a difficult

position. The New Order's cynical view of animation

puts it in an unimportant position in the

government's "development" programs. Thus was

born a variety of policies that counterproductive to

the development of Indonesian animation. New

Order government policies on TVRI and the policy

towards the birth of private television overlapping

with no blueprint actually hampered the

development of Indonesian animation. For 32 years,

Indonesian animation has been dominated by ads

animation, some serial animation productions, and

not even a single feature-length animation produced.

Indonesian Animation eventually lost in competition

with imported animation from the United States and

Japan. So amidst the impartiality of the New Order

government, the rise of Indonesian animation was

finally initiated by individuals or animation

communities amid growing art and design education

in Indonesia at that time. The Indonesian animation

finally found the momentum of its formal awakening

through the first major national event of comics and

animation, titled "National Comic and Animation

Week of 98" (PKAN 98) in February 1998 in

Jakarta, two months before the fall of the New Order

government in May 1998 by the reform movement

pioneered by college students. PKAN 98 is what can

be formally claimed to be the beginning of the

awakening of Indonesian animation. Events

organized on the initiative of animators, studios,

comic and animation communities, as well as

several colleges of Art/Design is actually received

support from the government of the New Order

through the Ministry of Education and Culture at the

BINUS-JIC 2018 - BINUS Joint International Conference

342

time. Being an irony, Indonesian animation actually

rose at the end of the fall of New Order.

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