Tito Imanda | Goldsmiths College, University of London (original) (raw)
Papers by Tito Imanda
Journal of Southeast Asian Studies
Unpublished PhD Thesis, 2019
This thesis analyzes the process of collaboration with a Javanese traditional performance group i... more This 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 lon...
This paper is based on an empirical study that explores issues around the process of a traditiona... more This 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 him...
Jurnal Komunikator Vol 10, No 2, 2018
This paper explores methods in making sure a film can make a statements to its audience, in this ... more This 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 natural 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, using ethnographic methods, 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. ABSTRAK Makalah ini mengeksplorasi cara-cara untuk memastikan sebuah film dapat membuat pernyataan kepada para pendengarnya, dalam hal ini untuk berbicara tentang masalah-masalah yang ada dalam realitas: identitas lokal dan sumber daya alam, melalui tema yang tidak realistis: roh-roh desa. Tulisan ini berfokus pada kolaborasi film dengan kelompok pertunjukan tradisional Jawa, untuk mengadaptasi karya-karya panggungmenjadi karya layar. Proyek ini memiliki tujuan praktis dan riset. Tujuan praktisnya adalah untuk berkolaborasi dengan pertunjukan tradisional dari daerah pedesaan, membantu memfasilitasi eksplorasi mereka terhadap media baru untuk mengekspresikan pesan narasi, estetika dan budaya mereka melalui film. Di sisi lain, dengan menggunakan metode etnografi, tujuan penelitian ini adalah untuk merekam, memahami, dan menganalisis proses ini, sambil meletakkan dasar untuk kolaborasi dan penelitian lebih lanjut dalam konteks lain dan dengan komunitas yang berbeda. Apa yang penting adalah eksplorasi proses adaptasi seni pertunjukan untuk film, dan bagaimana kolaborasi bertahun-tahun membentuk proses ini dan produknya. Ketika kami melihat secara dekat estetika film yang dihasilkan, kami mengamati bagaimana mereka mewakili budaya kelompok dan desa, serta identitas anggota
Antropologi Indonesia, VOL. 39 NO. 2, , 2018
This paper explores the conceptual and methodological thinking of an ethnography of a collaborati... more This 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.
No. 27 August 2016, Aug 2016
This paper is based on an empirical study that explores issues around the process of a traditiona... more This 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.
Book chapter: "Small Cinemas in Global Markets: Genres, Identities, Narratives", Lenuta Giukin, Janina Falkowska, and David Desser (eds), London: Lexington Books, Jan 2015
Essay, @ Cinemapoetica, http://cinemapoetica.com/sekolah-film-di-indonesia-sebuah-refleksi/ (translation), Apr 2014
ANTROPOLOGI INDONESIA Vol 33 No. 1 2012, Mar 2012
Book Chapter: "Southeast Asian Independent Cinema", Tilman Baumgärtel (ed), Hong Kong: Hong Kong University Press, Feb 2012
Jurnal Nadwa, Volume 2, No 1, May 2008
ANTROPOLOGI INDONESIA 75, 2004, Dec 2004
Unyil" program, decisions made, their background and consequences. The new Unyil appears for an i... more Unyil" program, decisions made, their background and consequences. The new Unyil appears for an ideal: parents miss an educational children television program. Production team seemed to believe that this ideal is not blocking their needs for profit.
ANTROPOLOGI INDONESIA Special Volume, 2002, Nov 2002
Tulisan ini menggambarkan arti penting dari komik bawah tanah di Indonesia mengingat tidak ada in... more Tulisan ini menggambarkan arti penting dari komik bawah tanah di Indonesia mengingat tidak ada industri komik nasional. Komik bawah tanah berarti bahwa penjualannya dilakukan secara independen di luar jalur pemasaran biasa, dan komik memuat gambar-gambar dan gaya tutur yang tidak konvensional. Penulis memfokuskan diri pada kehidupan dan karya Athonk, seorang komikus independen Indonesia, tidak menggunakan cara pemasaran konvensional dan memperkuat jaringan global para komikus independen dan penggemar melalui internet.
ANTROPOLOGI INDONESIA 69, 2002, Sep 2002
Fed up with the absurdity of Indonesian cultural and political life, Athonk is consistently creat... more 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.
Journal of Southeast Asian Studies
Unpublished PhD Thesis, 2019
This thesis analyzes the process of collaboration with a Javanese traditional performance group i... more This 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 lon...
This paper is based on an empirical study that explores issues around the process of a traditiona... more This 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 him...
Jurnal Komunikator Vol 10, No 2, 2018
This paper explores methods in making sure a film can make a statements to its audience, in this ... more This 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 natural 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, using ethnographic methods, 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. ABSTRAK Makalah ini mengeksplorasi cara-cara untuk memastikan sebuah film dapat membuat pernyataan kepada para pendengarnya, dalam hal ini untuk berbicara tentang masalah-masalah yang ada dalam realitas: identitas lokal dan sumber daya alam, melalui tema yang tidak realistis: roh-roh desa. Tulisan ini berfokus pada kolaborasi film dengan kelompok pertunjukan tradisional Jawa, untuk mengadaptasi karya-karya panggungmenjadi karya layar. Proyek ini memiliki tujuan praktis dan riset. Tujuan praktisnya adalah untuk berkolaborasi dengan pertunjukan tradisional dari daerah pedesaan, membantu memfasilitasi eksplorasi mereka terhadap media baru untuk mengekspresikan pesan narasi, estetika dan budaya mereka melalui film. Di sisi lain, dengan menggunakan metode etnografi, tujuan penelitian ini adalah untuk merekam, memahami, dan menganalisis proses ini, sambil meletakkan dasar untuk kolaborasi dan penelitian lebih lanjut dalam konteks lain dan dengan komunitas yang berbeda. Apa yang penting adalah eksplorasi proses adaptasi seni pertunjukan untuk film, dan bagaimana kolaborasi bertahun-tahun membentuk proses ini dan produknya. Ketika kami melihat secara dekat estetika film yang dihasilkan, kami mengamati bagaimana mereka mewakili budaya kelompok dan desa, serta identitas anggota
Antropologi Indonesia, VOL. 39 NO. 2, , 2018
This paper explores the conceptual and methodological thinking of an ethnography of a collaborati... more This 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.
No. 27 August 2016, Aug 2016
This paper is based on an empirical study that explores issues around the process of a traditiona... more This 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.
Book chapter: "Small Cinemas in Global Markets: Genres, Identities, Narratives", Lenuta Giukin, Janina Falkowska, and David Desser (eds), London: Lexington Books, Jan 2015
Essay, @ Cinemapoetica, http://cinemapoetica.com/sekolah-film-di-indonesia-sebuah-refleksi/ (translation), Apr 2014
ANTROPOLOGI INDONESIA Vol 33 No. 1 2012, Mar 2012
Book Chapter: "Southeast Asian Independent Cinema", Tilman Baumgärtel (ed), Hong Kong: Hong Kong University Press, Feb 2012
Jurnal Nadwa, Volume 2, No 1, May 2008
ANTROPOLOGI INDONESIA 75, 2004, Dec 2004
Unyil" program, decisions made, their background and consequences. The new Unyil appears for an i... more Unyil" program, decisions made, their background and consequences. The new Unyil appears for an ideal: parents miss an educational children television program. Production team seemed to believe that this ideal is not blocking their needs for profit.
ANTROPOLOGI INDONESIA Special Volume, 2002, Nov 2002
Tulisan ini menggambarkan arti penting dari komik bawah tanah di Indonesia mengingat tidak ada in... more Tulisan ini menggambarkan arti penting dari komik bawah tanah di Indonesia mengingat tidak ada industri komik nasional. Komik bawah tanah berarti bahwa penjualannya dilakukan secara independen di luar jalur pemasaran biasa, dan komik memuat gambar-gambar dan gaya tutur yang tidak konvensional. Penulis memfokuskan diri pada kehidupan dan karya Athonk, seorang komikus independen Indonesia, tidak menggunakan cara pemasaran konvensional dan memperkuat jaringan global para komikus independen dan penggemar melalui internet.
ANTROPOLOGI INDONESIA 69, 2002, Sep 2002
Fed up with the absurdity of Indonesian cultural and political life, Athonk is consistently creat... more 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.