Culture And Society In New Order Indonesia

In power since 1965, Indonesia's New Order government has formulated distinctive policies for cultural development. What effect have these policies had on individual artists and on art forms? This collection of fifteen essays explores the theme in the areas of literature, drama, film, television, painting, contemporary art, architecture, music, and language. The essays touch on current debates about the role of the artist in Indonesian society and discuss recent trends in the various genres.

In sharp contrast to today's disorder was the apparent cohesion and stability of Indonesia during much of the New Order period (1965-1998). While Suharto's authoritarian rule was significant, the regime's cultural policies also played their part in demonstrating that his regime created order throughout Indonesia not just through coercive means. Ethnic, religious, and regional sentiments were to be channelled into art, which was used to help develop a national Indonesian identity. This theme is explored by this study, which focuses on the efforts of a group of young art students based at the Bandung Academy of Performing Arts to revitalize traditional Longser theater.

Examines the aliran (streams, ways of life, comprehensive patterns of social integration with a political party as organizational core) theme from the perspective of how it helps in understanding the dynamics of the present New Order regime - the nature of the power structure on which the New Order rests, the patterns of conflict within the regime and between it and its opponents, and the probability of its continuation in power.

In these studies, scholars from the United States and Indonesia identify some of the cultural roots of Indonesian political behavior. The authors, representing the fields of anthropology, history, and political science, explore the ways in which traditional institutions, beliefs, values, and ethnic origins affect notions of power and rebellion, influence political party affiliations, and create new modes of cultural expression. Using two different but contemporary approaches, the authors show what can be learned about Indonesia through use of the Western concepts of "culture" and "politics". Professors Lev, Liddle, and Sartono illustrate how much can be gained from presenting Indonesian life in Western terms, while Professors Abdullah and Anderson contrast Indonesian and Western ideas. In an Afterword, Clifford Geertz reflects on the questions raised in these essays by discussing the tense relationships between Indonesian political institutions and the cultural framework in which they exist. CLAIRE HOLT was, until her death in 1970, Senior Research Associate of the Modern Indonesia Project, Cornell University. In Indonesia she served as assistant to the late Dr. W.F. Stutterheim, the noted archaeologist and cultural historian. She lectured extensively in Europe, the Far East, and the United States on Indonesian culture, and worked as a researcher and training specialist for the US Department of State.

This revised third edition provides an analysis of Suharto's New Order from its inception to the emergence of B.J. Habibie as President. The author reassesses the New Order's origins and its military roots and evaluates the considerable economic changes that have taken place since the 1960s. He examines Suharto's politics and, in a new chapter, the reasons behind the crisis and Suharto's fall.

Indonesia is the world’s largest archipelago, encompassing nearly eighteen thousand islands. The fourth-most populous nation in the world, it has a larger Muslim population than any other. The Indonesia Reader is a unique introduction to this extraordinary country. Assembled for the traveler, student, and expert alike, the Reader includes more than 150 selections: journalists’ articles, explorers’ chronicles, photographs, poetry, stories, cartoons, drawings, letters, speeches, and more. Many pieces are by Indonesians; some are translated into English for the first time. All have introductions by the volume’s editors. Well-known figures such as Indonesia’s acclaimed novelist Pramoedya Ananta Toer and the American anthropologist Clifford Geertz are featured alongside other artists and scholars, as well as politicians, revolutionaries, colonists, scientists, and activists. Organized chronologically, the volume addresses early Indonesian civilizations; contact with traders from India, China, and the Arab Middle East; and the European colonization of Indonesia, which culminated in centuries of Dutch rule. Selections offer insight into Japan’s occupation (1942–45), the establishment of an independent Indonesia, and the post-independence era, from Sukarno’s presidency (1945–67), through Suharto’s dictatorial regime (1967–98), to the present Reformasi period. Themes of resistance and activism recur: in a book excerpt decrying the exploitation of Java’s natural wealth by the Dutch; in the writing of Raden Ajeng Kartini (1879–1904), a Javanese princess considered the icon of Indonesian feminism; in a 1978 statement from East Timor objecting to annexation by Indonesia; and in an essay by the founder of Indonesia’s first gay activist group. From fifth-century Sanskrit inscriptions in stone to selections related to the 2002 Bali bombings and the 2004 tsunami, The Indonesia Reader conveys the long history and the cultural, ethnic, and ecological diversity of this far-flung archipelago nation.

The culture of television in Indonesia began with its establishment in 1962 as a public broadcasting service. From that time, through the deregulation of television broadcasting in 1990 and the establishment of commercial channels, television can be understood, Philip Kitley argues, as a part of the New Order’s national culture project, designed to legitimate an idealized Indonesian national cultural identity. But Professor Kitley suggests that it also has become a site for the contestation of elements of the New Order’s cultural policies. Based on his studies, he further speculates on the increasingly significant role that television is destined to play as a site of cultural and political struggle.

Identity and Pleasure: The Politics of Indonesian Screen Culture critically examines what media and screen culture reveal about the ways urban-based Indonesians attempted to redefine their identity in the first decade of this century. Through a richly nuanced analysis of expressions and representations found in screen culture (cinema, television and social media), it analyses the waves of energy and optimism, and the disillusionment, disorientation and despair, that arose in the power vacuum that followed the dramatic collapse of the militaristic New Order government. While in-depth analyses of identity and political contestation within the nation are the focus of the book, trans-national engagements and global dimensions are a significant part of the story in each chapter. The author focuses on contemporary cultural politics in Indonesia, but each chapter contextualizes current circumstances by setting them within a broader historical perspective.